Visit https://ebookfinal.

com to download the full version and

explore more ebooks

Hedda Gabler Webster s Korean Thesaurus Edition

Henrik Ibsen

_____ Click the link below to download _____

https://ebookfinal.com/download/hedda-gabler-webster-s-
korean-thesaurus-edition-henrik-ibsen/

Explore and download more ebooks at ebookfinal.com

Here are some suggested products you might be interested in.
Click the link to download

Hedda Gabler Webster s German Thesaurus Edition Henrik

Ibsen

https://ebookfinal.com/download/hedda-gabler-webster-s-german-
thesaurus-edition-henrik-ibsen/

An Enemy of the People Webster s French Thesaurus Edition

Henrik Ibsen

https://ebookfinal.com/download/an-enemy-of-the-people-webster-s-
french-thesaurus-edition-henrik-ibsen/

CliffsNotes on Ibsen s A Doll s House Hedda Gabler 1st

Edition Marianne Sturman

https://ebookfinal.com/download/cliffsnotes-on-ibsen-s-a-doll-s-house-
hedda-gabler-1st-edition-marianne-sturman/

Dubliners Webster s Korean Thesaurus Edition James Joyce

https://ebookfinal.com/download/dubliners-webster-s-korean-thesaurus-
edition-james-joyce/
Pericles Webster s Korean Thesaurus Edition William
Shakespeare

https://ebookfinal.com/download/pericles-webster-s-korean-thesaurus-
edition-william-shakespeare/

The Odyssey Webster s Korean Thesaurus Edition Homer

https://ebookfinal.com/download/the-odyssey-webster-s-korean-
thesaurus-edition-homer/

The Iliad Webster s Korean Thesaurus Edition Homer

https://ebookfinal.com/download/the-iliad-webster-s-korean-thesaurus-
edition-homer/

The Tempest Webster s Korean Thesaurus Edition William

Shakespeare

https://ebookfinal.com/download/the-tempest-webster-s-korean-
thesaurus-edition-william-shakespeare/

King John Webster s Korean Thesaurus Edition William

Shakespeare

https://ebookfinal.com/download/king-john-webster-s-korean-thesaurus-
edition-william-shakespeare/
Hedda Gabler Webster s Korean Thesaurus Edition
Henrik Ibsen Digital Instant Download
Author(s): Henrik Ibsen
ISBN(s): 9781423795698, 1423795695
File Details: PDF, 1.60 MB
Year: 2006
Language: english
 HEDDA GABLER

WEBSTER'S KOREAN THESAURUS

EDITION
for ESL, EFL, ELP, TOEFL®, TOEIC®, and AP® Test Preparation

Henrik Ibsen
Translation by Edmund Gosse
and William Archer

TOEFL, TOEIC, AP and Advanced Placement are trademarks of the Educational Testing Service which has
neither reviewed nor endorsed this book. All rights reserved.
 Hedda Gabler
Webster's Korean
Thesaurus Edition
for ESL, EFL, ELP, TOEFL®, TOEIC®, and AP® Test
Preparation

Henrik Ibsen
Translation by Edmund Gosse
and William Archer

TOEFL®, TOEIC®, AP® and Advanced Placement® are trademarks of the Educational Testing Service which
has neither reviewed nor endorsed this book. All rights reserved.
ii

ICON CLASSICS

Published by ICON Group International, Inc.

7404 Trade Street
San Diego, CA 92121 USA

www.icongrouponline.com

Hedda Gabler: Webster's Korean Thesaurus Edition for ESL, EFL, ELP, TOEFL®, TOEIC®, and AP®
Test Preparation

This edition published by ICON Classics in 2005

Printed in the United States of America.

Copyright ©2005 by ICON Group International, Inc.

Edited by Philip M. Parker, Ph.D. (INSEAD); Copyright ©2005, all rights reserved.

All rights reserved. This book is protected by copyright. No part of it may be reproduced, stored in a
retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording, or otherwise, without written permission from the publisher.

Copying our publications in whole or in part, for whatever reason, is a violation of copyright laws
and can lead to penalties and fines. Should you want to copy tables, graphs, or other materials, please
contact us to request permission (E-mail: [email protected]). ICON Group often grants
permission for very limited reproduction of our publications for internal use, press releases, and
academic research. Such reproduction requires confirmed permission from ICON Group
International, Inc.

TOEFL®, TOEIC®, AP® and Advanced Placement® are trademarks of the Educational Testing
Service which has neither reviewed nor endorsed this book. All rights reserved.

ISBN 0-497-91380-1
 iii

Contents
PREFACE FROM THE EDITOR ........................................................................................ 1
INTRODUCTION.............................................................................................................. 2
PERSONS REPRESENTED ............................................................................................ 11
ACT I ............................................................................................................................ 12
ACT II ........................................................................................................................... 60
ACT III ........................................................................................................................ 105
ACT IV ........................................................................................................................ 135
GLOSSARY ................................................................................................................. 162
 Henrik Ibsen 1

PREFACE FROM THE EDITOR

Webster’s paperbacks take advantage of the fact that classics are frequently assigned readings in
English courses. By using a running English-to-Korean thesaurus at the bottom of each page, this
edition of Hedda Gabler by Henrik Ibsen was edited for three audiences. The first includes Korean-
speaking students enrolled in an English Language Program (ELP), an English as a Foreign
Language (EFL) program, an English as a Second Language Program (ESL), or in a TOEFL® or
TOEIC® preparation program. The second audience includes English-speaking students enrolled in
bilingual education programs or Korean speakers enrolled in English speaking schools. The third
audience consists of students who are actively building their vocabularies in Korean in order to take
foreign service, translation certification, Advanced Placement® (AP®)1 or similar examinations. By
using the Webster's Korean Thesaurus Edition when assigned for an English course, the reader can
enrich their vocabulary in anticipation of an examination in Korean or English.

Webster’s edition of this classic is organized to expose the reader to a maximum number of
difficult and potentially ambiguous English words. Rare or idiosyncratic words and expressions are
given lower priority compared to “difficult, yet commonly used” words. Rather than supply a single
translation, many words are translated for a variety of meanings in Korean, allowing readers to
better grasp the ambiguity of English, and avoid them using the notes as a pure translation crutch.
Having the reader decipher a word’s meaning within context serves to improve vocabulary
retention and understanding. Each page covers words not already highlighted on previous pages. If
a difficult word is not translated on a page, chances are that it has been translated on a previous
page. A more complete glossary of translations is supplied at the end of the book; translations are
extracted from Webster’s Online Dictionary.

Definitions of remaining terms as well as translations can be found at www.websters-online-

dictionary.org. Please send suggestions to [email protected]

The Editor
Webster’s Online Dictionary
www.websters-online-dictionary.org

1
TOEFL®, TOEIC®, AP® and Advanced Placement® are trademarks of the Educational Testing Service which
has neither reviewed nor endorsed this book. All rights reserved.
2 Hedda Gabler

INTRODUCTION.%

From Munich, on June 29, 1890, Ibsen wrote to the Swedish poet, Count Carl
Soilsky: "Our intention has all along been to spend the summer in the Tyrol
again. But circumstances are against our doing so. I am at present engaged upon
a new dramatic work, which for several reasons has made very slow progress,
and I do not leave Munich until I can take with me the completed first draft.
There is little or no prospect of my being able to complete it in July." Ibsen did
not leave Munich at all that season. On October 30 he wrote: "At present I am
utterly engrossed in a new play. Not one leisure hour have I had for several
months." Three weeks later (November 20) he wrote to his French translator,
Count Prozor: "My new play is finished; the manuscript went off to Copenhagen
the day before yesterday. . . . It produces a curious feeling of emptiness to be
thus suddenly separated from a work which has occupied one's time and
thoughts for several months, to the exclusion of all else. But it is a good thing,
too, to have done with it. The constant intercourse with the fictitious personages
was beginning to make me quite nervous." To the same correspondent he wrote
on December 4: "The title of the play is Hedda Gabler. My intention in giving it
this name was to indicate that Hedda, as a personality, is to be regarded rather as
her father's daughter than as her husband's wife. It was not my desire to deal in
this play with so-called problems. What I principally wanted to do was to depict
human beings, human emotions, and human destinies, upon a groundwork of
certain of the social conditions and principles of the present day."
So far we read the history of the play in the official "Correspondence." Some
interesting glimpses into the poet's moods during the period between the
completion of The Lady from the Sea and the publication of Hedda Gabler are to be
found in the series of letters to Fraulein Emilie Bardach, of Vienna, published by
Dr. George Brandes. This young lady Ibsen met at Gossensass in the Tyrol in the
autumn of 1889. The record of their brief friendship belongs to the history of The

Korean
correspondent: 거래처, 대응하는, engaged: 바쁜, 약속된, 교전중인, 영적인 교통, 의사의 교환, 영적 교통,
통신인, 일치하는 것, 서신왕래자, 고용된, 약혼중인, 용무중인, 영적 교류.
기고가, 특파원, 일치하는, 통신원, 통화중인, 약혼인, 연동의, 종사하는, manuscript: 원고, 손으로 쓴, 필사한,
거래점, 대응하는 것. 벽에 반쯤 묻힌. 사본, 필사의, 사본 원고의.
curious: 이상한, 호기심이 강한, exclusion: 제외, 몰아냄, 배척. one's: 자기의, 자신의.
진서인, 면밀한, 묘한, 호기심을 끄는, fictitious: 거짓의, 의제의, 가공의, principally: 주로, 대개, 대체로.
진기한, 정성들인, 캐기 좋아하는, 창작적인. translator: 역자, 수리인, 번역자, 자동
외설한, 알고 싶어하는. friendship: 우정, 친목, 친선, 교우, 중계기, 통역, 번역 루틴, 자동중계기,
depict: 묘사하다, 서술하다. 벗으로서 사귐, 벗으로서의 사귐. 번역루틴.
emptiness: 무지, 덧없음, 공허, 공복, groundwork: 바탕, 기초, 토대. utterly: 아주, 완전히, 완전한, 전혀,
무의미, 공, 빈 곳, 텅 빔, 빔, 무가치. intercourse: 성교, 교통, 교제, 영교, 순전히.
 Henrik Ibsen 3

Master Builder rather than to that of Hedda Gabler, but the allusions to his work in
his letters to her during the winter of 1889 demand some examination.%
So early as October 7, 1889, he writes to her: "A new poem begins to dawn in
me. I will execute it this winter, and try to transfer to it the bright atmosphere of
the summer. But I feel that it will end in sadness--such is my nature." Was this
"dawning" poem Hedda Gabler? Or was it rather The Master Builder that was
germinating in his mind? Who shall say? The latter hypothesis seems the more
probable, for it is hard to believe that at any stage in the incubation of Hedda
Gabler he can have conceived it as even beginning in gaiety. A week later,
however, he appears to have made up his mind that the time had not come for
the poetic utilisation of his recent experiences. He writes on October 15: "Here I
sit as usual at my writing-table. Now I would fain work, but am unable to. My
fancy, indeed, is very active. But it always wanders awayours. I cannot repress
my summer memories--nor do I wish to. I live through my experience again and
again and yet again. To transmute it all into a poem, I find, in the meantime,
impossible." Clearly, then, he felt that his imagination ought to have been
engaged on some theme having no relation to his summer experiences--the
theme, no doubt, of Hedda Gabler. In his next letter, dated October 29, he writes:
"Do not be troubled because I cannot, in the meantime, create (dichten). In reality
I am for ever creating, or, at any rate, dreaming of something which, when in the
fulness of time it ripens, will reveal itself as a creation (Dichtung)." On November
19 he says: "I am very busily occupied with preparations for my new poem. I sit
almost the whole day at my writing-table. Go out only in the evening for a little
while." The five following letters contain no allusion to the play; but on
September 18, 1890, he wrote: "My wife and son are at present at Riva, on the
Lake of Garda, and will probably remain there until the middle of October, or
even longer. Thus I am quite alone here, and cannot get away. The new play on
which I am at present engaged will probably not be ready until November,
though I sit at my writing- table daily, and almost the whole day long."
Here ends the history of Hedda Gabler, so far as the poet's letters carry us. Its
hard clear outlines, and perhaps somewhat bleak atmosphere, seem to have

Korean
allusion: 암시, 변죽 울림, 약간의 하기를 바라는, 하고싶은, 이고싶은, probable: 있음직한, 사실 같은,
언급, 인유. 부득이, 기꺼이 하는, 기꺼이..하는. 확실한 듯한, 할 듯 싶은, 유망한
bleak: 으스스 추운, 황량한, 쌀쌀한, fulness: 비만, 충만, 참, 풍부, 만족, 차 후보자, 무슨일을 할 것 같은 사람,
쓸쓸한, 찬바람 나는, 싸늘한, 있음, 풍부함. 보결선수, 일어날 듯한 사건, 무슨
바람받이의, 침체된, 차가운. gaiety: 유쾌, 환락, 쾌활, 법석, 호사 일을 할 것 같은 사람.
busily: 바쁘게. 화려, 화려, 잔치 기분. repress: 억누르다, 억압하다,
execute: 사형을 집행하다, 실시하다, incubation: 부화, 잠복기, 잠복, 알을 억제하다, 진압하다, 정복하다.
연주하다, 제작하다, 서명 날인하다, 품음, 기도, 계획, 부화기간. transmute: 변화 시키다, 변화시키다,
집행하다, 시행하다, 수행하다, outlines: 요점. 변하게 하다.
실행하다, 완성하다. poetic: 시의, 시적인, 시에 적합한, troubled: 난처한, 거칠은, 소란한,
fain: 기꺼이, 하고 싶어하는, 쾌히, 시인의. 교란된, 근심스러운.
4 Hedda Gabler

resulted from a sort of reaction against the sentimental "dreamery" begotten of

his Gossensass experiences. He sought refuge in the chill materialism of Hedda
from the ardent transcendentalism of Hilda, whom he already heard knocking
at the door. He was not yet in the mood to deal with her on the plane of poetry.%
Hedda Gabler was published in Copenhagen on December 16, 1890. This was
the first of Ibsen's plays to be translated from proof- sheets and published in
England and America almost simultaneously with its first appearance in
Scandinavia. The earliest theatrical performance took place at the Residenz
Theater, Munich, on the last day of January 1891, in the presence of the poet,
Frau Conrad-Ramlo playing the title-part. The Lessing Theater, Berlin, followed
suit on February 10. Not till February 25 was the play seen in Copenhagen, with
Fru Hennings as Hedda. On the following night it was given for the first time in
Christiania, the Norwegian Hedda being Froken Constance Bruun. It was this
production which the poet saw when he visited the Christiania Theater for the
first time after his return to Norway, August 28, 1891. It would take pages to give
even the baldest list of the productions and revivals of Hedda Gabler in
Scandinavia and Germany, where it has always ranked among Ibsen's most
popular works. The admirable production of the play by Miss Elizabeth Robins
and Miss Marion Lea, at the Vaudeville Theatre, London, April 20, 1891, may
rank as the second great step towards the popularisation of Ibsen in England, the
first being the Charrington- Achurch production of A Doll's House in 1889. Miss
Robins afterwards repeated her fine performance of Hedda many times, in
London, in the English provinces, and in New York. The character has also been
acted in London by Eleonora Duse, and as I write (March, 5, 1907) by Mrs.
Patrick Campbell, at the Court Theatre. In Australia and America, Hedda has
frequently been acted by Miss Nance O'Neill and other actresses--quite recently
by a Russian actress, Madame Alla Nazimova, who (playing in English) seems to
have made a notable success both in this part and in Nora. The first French
Hedda Gabler was Mlle. Marthe Brandes, who played the part at the Vaudeville
Theatre, Paris, on December 17, 1891, the performance being introduced by a
lecture by M. Jules Lemaitre. In Holland, in Italy, in Russia, the play has been

Korean
actress: 여배우. notable: 주목할 만한, 명사, 저명한, 안전지대, 핑계, 도피처, 구실, 의지,
admirable: 훌륭한, 좋다, 칭찬할 만한. 유명한, 두드러진, 유명한것, 명망가, 의지가 되는 사람, 의지가 되는 물건,
ardent: 불같은, 뜨거운, 타는 듯한, 뛰어난, 프랑스 비상시 의회의 위안자.
열심인, 열렬한, 빛나는, 불타는. 명사의원, 살림잘하는, 지각할수 sentimental: 감상적인, 감정의,
chill: 오한, 냉기, 차가운, 한기, 춥게 있는. 다감한, 감정적인, 감정에 바탕을 둔.
하다, 냉담한, 냉장하다, 냉랭한, poet: 시인, 시인 기질의 사람, 가인. simultaneously: 동시의.
풀죽음, 추위에 떨고 있는, 냉담. provinces: 지방. theatrical: 극장의, 연극의, 연극 같은,
knocking: 노킹, 문두들김. rank: 열, 계급, 지독한, 병졸, 고관, 연극, 연극조의, 연극적 행동.
lecture: 강의, 훈계, 강의하다, 설교, 평가하다, 횡렬, 군대, 고위, 등급을 transcendentalism: 선험론,
강연하다, 에게 강의하다. 매기다, 나란히 세우다. 공상적이상주의, 불가해, 선험 철학,
materialism: 유물주의, 유물론. refuge: 피난처, 은신처, 피난, 탁월성, 환상, 초월론.
 Henrik Ibsen 5

acted times without number. In short (as might easily have been foretold) it has
rivalled A Doll's House in world- wide popularity.%
It has been suggested, I think without sufficient ground, that Ibsen
deliberately conceived Hedda Gabler as an "international" play, and that the scene
is really the "west end" of any European city. To me it seems quite clear that
Ibsen had Christiania in mind, and the Christiania of a somewhat earlier period
than the 'nineties. The electric cars, telephones, and other conspicuous factors in
the life of a modern capital are notably absent from the play. There is no electric
light in Secretary Falk's villa. It is still the habit for ladies to return on foot from
evening parties, with gallant swains escorting them. This "suburbanism," which
so distressed the London critics of 1891, was characteristic of the Christiania
Ibsen himself had known in the 'sixties--the Christiania of Love's Comedy--rather
than of the greatly extended and modernised city of the end of the century.
Moreover Lovborg's allusions to the fiord, and the suggested picture of Sheriff
Elvsted, his family and his avocations are all distinctively Norwegian. The truth
seems to be very simple--the environment and the subsidiary personages are all
thoroughly national, but Hedda herself is an "international" type, a product of
civilisation by no means peculiar to Norway.
We cannot point to any individual model or models who "sat to" Ibsen for the
character of Hedda. The late Grant Allen declared that Hedda was "nothing more
nor less than the girl we take down to dinner in London nineteen times out of
twenty"; in which case Ibsen must have suffered from a superfluidity of models,
rather than from any difficulty in finding one. But the fact is that in this, as in all
other instances, the word "model" must be taken in a very different sense from
that in which it is commonly used in painting. Ibsen undoubtedly used models
for this trait and that, but never for a whole figure. If his characters can be called
portraits at all, they are composite portraits. Even when it seems pretty clear that
the initial impulse towards the creation of a particular character came from some
individual, the original figure is entirely transmuted in the process of
harmonisation with the dramatic scheme. We need not, therefore, look for a

Korean
absent: 결석의, 없는, 부재의, 멍청한, distressed: 피로한, 궁핍한, 구유핍한, 감정순간력, 욕구.
멍하게, 결근의, 결근하다, 결석하다, 투매의, 고민하는. peculiar: 독특한, 묘한, 특유한, 특성,
결여된, 멍한, 출타중인. fiord: 피오르드, 협만. 괴상함, 특별한, 사유 재산, 고유한,
composite: 합성의, 혼성의, 합성물, foretold: 문치, 앞니. 특수 지역, 특수 교구, 다른 관구의
혼합식의, 복합물, 복합의, 혼합객차, gallant: 화려한, 용감한, 여성에게 감독 지배하의 특수 지역.
혼합 객차. 친절한, 훌륭한, 용감한 사람, 정부, subsidiary: 보조금의, 자회사, 보조의,
conspicuous: 두드러진, 확실히 정중한 말씨, 당당한, 상냥한 남자, 보충적인, 종속적인, 보조물, 보조자,
보이는, 눈에 잘 띄는, 현저한, 여성에게 친절한 남자, 여성에게 부주제, 모회사의 지배를 받는,
저명한, 이채를 띤, 뛰어난, 뚜렷한. 친절함. 용병이 된, 보조금에 의한.
distinctively: 구별하여, 구별하게, impulse: 충격, 충동, 자극, 추진, 변덕, trait: 특색, 특징, 얼굴 모습, 특성,
독특하게. 충격량, 역적, 고무, 일시적 일필.
6 Hedda Gabler

definite prototype of Hedda; but Dr. Brandes shows that two of that lady's
exploits were probably suggested by the anecdotic history of the day.%
Ibsen had no doubt heard how the wife of a well-known Norwegian
composer, in a fit of raging jealousy excited by her husband's prolonged absence
from home, burnt the manuscript of a symphony which he had just finished. The
circumstances under which Hedda burns Lovborg's manuscript are, of course,
entirely different and infinitely more dramatic; but here we have merely another
instance of the dramatisation or "poetisation" of the raw material of life. Again, a
still more painful incident probably came to his knowledge about the same time.
A beautiful and very intellectual woman was married to a well-known man who
had been addicted to drink, but had entirely conquered the vice. One day a mad
whim seized her to put his self-mastery and her power over him to the test. As it
happened to be his birthday, she rolled into his study a small keg of brandy, and
then withdrew. She returned some time after wards to find that he had broached
the keg, and lay insensible on the floor. In this anecdote we cannot but recognise
the germ, not only of Hedda's temptation of Lovborg, but of a large part of her
character.
"Thus," says Dr. Brandes, "out of small and scattered traits of reality Ibsen
fashioned his close-knit and profoundly thought-out works of art."
For the character of Eilert Lovborg, again, Ibsen seem unquestionably to
have borrowed several traits from a definite original. A young Danish man of
letters, whom Dr. Brandes calls Holm, was an enthusiastic admirer of Ibsen, and
came to be on very friendly terms with him. One day Ibsen was astonished to
receive, in Munich, a parcel addressed from Berlin by this young man,
containing, without a word of explanation, a packet of his (Ibsen's) letters, and a
photograph which he had presented to Holm. Ibsen brooded and brooded over
the incident, and at last came to the conclusion that the young man had intended
to return her letters and photograph to a young lady to whom he was known to
be attached, and had in a fit of aberration mixed up the two objects of his
worship. Some time after, Holm appeared at Ibsen's rooms. He talked quite
rationally, but professed to have no knowledge whatever of the letter-incident,

Korean
aberration: 수차, 정신 이상, 바른 조직된, 빈틈이 없는. professed: 공언한, 자칭의, 가장한,
길을 벗어남, 변형, 정도에서 벗어남. fashioned: 식의. 겉꾸밈의, 공공연한, 서약하고
addicted: 사용하여, 탐닉하여, 빠져, germ: 세균, 싹틈, 발아하다, 배종, 종교단에 든, 서약하고 수도회에
열중하여, 중독 되어. 어린싹, 병원균, 근원, 유아, 들어간, 겉보기만의.
admirer: 숭배자, 팬, 찬양자, 구혼자, 발아시키다, 생겨나다, 싹이 트다. rationally: 합리적으로, 이성적으로,
찬미자, 환심을 사려는 남자. insensible: 무감각한, 의식이 없는, 이치를 알아서.
anecdote: 일화, 기담, 비사. 인사 불성의, 무관심한, 알아채리 self-mastery: 극기.
anecdotic: 일화가 많은, 일화적인, 못할 정도로, 인사불성의, 감지할수 thought-out: 여러모로 깊이 생각한.
일화 같은, 일화를 말하고 싶어하는, 없는, 무신경의, 아주 적은, 감수성 unquestionably: 분명히, 의심이 없는,
일화의. 없는, 무신경인. 의심할 나위 없이, 확실히.
close-knit: 굳게 맺어진, 밀접하게 keg: 작은 나무통, 작은 통. whim: 변덕, 일시적 기분, 권상기.
 Henrik Ibsen 7

though he admitted the truth of Ibsen's conjecture that the "belle dame sans
merci" had demanded the return of her letters and portrait. Ibsen was
determined to get at the root of the mystery; and a little inquiry into his young
friend's habits revealed the fact that he broke his fast on a bottle of port wine,
consumed a bottle of Rhine wine at lunch, of Burgundy at dinner, and finished
off the evening with one or two more bottles of port. Then he heard, too, how, in
the course of a night's carouse, Holm had lost the manuscript of a book; and in
these traits he saw the outline of the figure of Eilert Lovborg.%
Some time elapsed, and again Ibsen received a postal packet from Holm. This
one contained his will, in which Ibsen figured as his residuary legatee. But many
other legatees were mentioned in the instrument-- all of them ladies, such as
Fraulein Alma Rothbart, of Bremen, and Fraulein Elise Kraushaar, of Berlin. The
bequests to these meritorious spinsters were so generous that their sum
considerably exceeded the amount of the testator's property. Ibsen gently but
firmly declined the proffered inheritance; but Holm's will no doubt suggested to
him the figure of that red-haired "Mademoiselle Diana," who is heard of but not
seen in Hedda Gabler, and enabled him to add some further traits to the
portraiture of Lovborg. When the play appeared, Holm recognised himself with
glee in the character of the bibulous man of letters, and thereafter adopted
"Eilert Lovborg" as his pseudonym. I do not, therefore, see why Dr. Brandes
should suppress his real name; but I willingly imitate him in erring on the side
of discretion. The poor fellow died several years ago.
Some critics have been greatly troubled as to the precise meaning of Hedda's
fantastic vision of Lovborg "with vine-leaves in his hair." Surely this is a very
obvious image or symbol of the beautiful, the ideal, aspect of bacchic elation and
revelry. Antique art, or I am much mistaken, shows us many figures of Dionysus
himself and his followers with vine-leaves entwined their hair. To Ibsen's mind,
at any rate, the image had long been familiar. In Peer Gynt (Act iv. sc. 8), when
Peer, having carried off Anitra, finds himself in a particularly festive mood, he
cries: "Were there vine-leaves around, I would garland my brow." Again, in
Emperor and Galilean (Pt. ii. Act 1) where Julian, in the procession of Dionysus,

Korean
bacchic: 만취한, 주신 바카스의. 득의만면. meritorious: 가치 있는, 공적 있는,
bibulous: 술꾼의, 술을 좋아하는 erring: 잘못되어 있는, 죄를 범하고 칭찬할 만한, 공훈 있는.
사람, 흡수성의, 술을 좋아하는, 물을 있는. portraiture: 초상화, 묘사, 초상화법.
빨아들이는. festive: 축제의, 즐거운, 명랑한. pseudonym: 아호, 필명.
carouse: 술을 흠씬 마시다, 큰술잔치, glee: 환희, 유쾌, 합창곡, 기쁨, 삼부 residuary: 잔여의, 잔여재산의,
통음하다, 술을 마시며 떠들다, 또는 그 이상의 합창곡, 환회. 찌꺼기의, 잔재의, 남은, 나머지의,
술마시며 흥청거리다, 카로틴. imitate: 모방하다, 흉내내다, 잔여 재산의, 잔여 유산의.
conjecture: 추측, 추측하다, 어림대고 모조하다, 모범으로 삼다, 본받다, revelry: 술잔치, 환락, 주연, 술마시고
말하다, 어림짐작, 억측하다, 억측, 모사하다, 위조하다. 떠들어댐, 술마시고 법석댐, 술마시며
판독, 판독하다. legatee: 유산 수취인. 흥청거리기.
elation: 의기 양양, 의기양양, merci: 고맙습니다. sans: 산세리프, 없이.
8 Hedda Gabler

impersonates the god himself, it is directed that he shall wear a wreath of vine-
leaves. Professor Dietrichson relates that among the young artists whose society
Ibsen frequented during his first years in Rome, it was customary, at their little
festivals, for the revellers to deck themselves in this fashion. But the image is so
obvious that there is no need to trace it to any personal experience. The attempt
to place Hedda's vine-leaves among Ibsen's obscurities is an example of the firm
resolution not to understand which animated the criticism of the 'nineties.%
Dr. Brandes has dealt very severely with the character of Eilert Lovborg,
alleging that we cannot believe in the genius attributed to him. But where is he
described as a genius? The poet represents him as a very able student of
sociology; but that is quite a different thing from attributing to him such genius
as must necessarily shine forth in every word he utters. Dr. Brandes, indeed,
declines to believe even in his ability as a sociologist, on the ground that it is idle
to write about the social development of the future. "To our prosaic minds," he
says, "it may seem as if the most sensible utterance on the subject is that of the
fool of the play: 'The future! Good heavens, we know nothing of the future.'" The
best retort to this criticism is that which Eilert himself makes: "There's a thing or
two to be said about it all the same." The intelligent forecasting of the future (as
Mr. H. G. Wells has shown) is not only clearly distinguishable from fantastic
Utopianism, but is indispensable to any large statesmanship or enlightened
social activity. With very real and very great respect for Dr. Brandes, I cannot
think that he has been fortunate in his treatment of Lovborg's character. It has
been represented as an absurdity that he would think of reading abstracts from
his new book to a man like Tesman, whom he despises. But though Tesman is a
ninny, he is, as Hedda says, a "specialist"-- he is a competent, plodding student
of his subject. Lovborg may quite naturally wish to see how his new method, or
his excursion into a new field, strikes the average scholar of the Tesman type. He
is, in fact, "trying it on the dog"--neither an unreasonable nor an unusual
proceeding. There is, no doubt, a certain improbability in the way in which
Lovborg is represented as carrying his manuscript around, and especially in Mrs.
Elvsted's production of his rough draft from her pocket; but these are mechanical
trifles, on which only a niggling criticism would dream of laying stress.
Korean
absurdity: 부조리한, 엉터리없는 일, 않은일, 정말같지 않음, 정말 같지 retort: 레토르트, 역습, 보복하다,
불합리, 어리석은 일. 않음. 대꾸하다, 레토르트로 건류하다,
animated: 싱싱한, 기운찬, 살아있는, niggling: 옹졸한, 귀찮은 자질구레한 말대꾸하다, 반박하다, 역습하다,
생기가 있는. 일, 하찮은 일에 마음을 쓰는, 하찮은 증류기, 보복, 말대꾸.
distinguishable: 구별할 수 있는. 일로 고민하는, 지나치게 꼼꼼한일, sociologist: 사회학자.
excursion: 소풍, 관광단, 습격, 일탈, 읽기 힘든, 손질이 너무 꼼꼼스런, sociology: 사회학, 군집 생태학.
수학여행, 단체여행, 할인 배, 편위, 등시원스럽지 않은, 대수롭지 않은 statesmanship: 정치적 수완.
할인 열차, 옆길로 벗어남, 소풍 단체. 일에 마음쓰는. vine: 포도나무, 덩굴, 덩굴이 뻗다,
improbability: 참말 같지 않은, ninny: 멍청이, 바보. 포도주, 덩굴 식물.
일어날 법하지 않은, 있을것 같지 prosaic: 평범한, 지루한, 산문적인, wreath: 화환, 화관, 원형, 원,
않은일, 있음직 하지 않음, 정말 같지 산문체의, 산문의, 무미건조한. 소용돌이.
 Henrik Ibsen 9

Of %all Ibsen's works, Hedda Gabler is the most detached, the most objective--a
character-study pure and simple. It is impossible--or so it seems to me--to extract
any sort of general idea from it. One cannot even call it a satire, unless one is
prepared to apply that term to the record of a "case" in a work of criminology.
Reverting to Dumas's dictum that a play should contain "a painting, a judgment,
an ideal," we may say the Hedda Gabler fulfils only the first of these requirements.
The poet does not even pass judgment on his heroine: he simply paints her full-
length portrait with scientific impassivity. But what a portrait! How searching in
insight, how brilliant in colouring, how rich in detail! Grant Allen's remark,
above quoted, was, of course, a whimsical exaggeration; the Hedda type is not
so common as all that, else the world would quickly come to an end. But
particular traits and tendencies of the Hedda type are very common in modern
life, and not only among women. Hyperaesthesia lies at the root of her tragedy.
With a keenly critical, relentlessly solvent intelligence, she combines a morbid
shrinking from all the gross and prosaic detail of the sensual life. She has
nothing to take her out of herself--not a single intellectual interest or moral
enthusiasm. She cherishes, in a languid way, a petty social ambition; and even
that she finds obstructed and baffled. At the same time she learns that another
woman has had the courage to love and venture all, where she, in her cowardice,
only hankered and refrained. Her malign egoism rises up uncontrolled, and
calls to its aid her quick and subtle intellect. She ruins the other woman's
happiness, but in doing so incurs a danger from which her sense of personal
dignity revolts. Life has no such charm for her that she cares to purchase it at the
cost of squalid humiliation and self-contempt. The good and the bad in her alike
impel her to have done with it all; and a pistol-shot ends what is surely one of
the most poignant character-tragedies in literature. Ibsen's brain never worked at
higher pressure than in the conception and adjustment of those "crowded hours"
in which Hedda, tangled in the web of Will and Circumstance, struggles on till
she is too weary to struggle any more.

Korean
baffled: 실패하는. 밀다. 빗대다, 빈정댐.
cowardice: 겁, 비겁, 소심. languid: 불경기의, 귀찮은, 느른한, self-contempt: 자기 경멸.
criminology: 범죄학, 형사학. 무기력한, 노곤한. shrinking: 움츠리는, 겁내는,
dictum: 격언, 단언, 명언, 의견. malign: 악의 있는, 유해한, 중상하다, 움츠리는 것.
egoism: 이기주의, 자부, 자만, 이기설. 헐뜯다, 악성의. squalid: 더러운, 천한, 너저분한,
hyperaesthesia: 지각 과민. morbid: 병적인, 섬뜩한, 병의, 비열한, 누추한.
impassivity: 무감각, 냉정, 태연, 불건전한, 무시무시한, 정신이 tangled: 얽힌, 혼란을 일으킨, 분규의.
태연함, 무표정, 둔감, 냉정함, 병적인, 질병에 관한, 질병의. uncontrolled: 자유로운, 억제되지
무감동, 무감각함. relentlessly: 용서없이, 무정하게, 않은, 억제 되지 않은.
impel: 추진하다, 재촉하다, 냉혹하게. whimsical: 변덕스러운, 별난, 이상한,
억지로...시키다, 몰다, 밀어붙이다, satire: 풍자, 비꼼, 풍자시, 풍자하다, 묘한, 기분적인.
10 Hedda Gabler

It may not be superfluous to note that the "a" in "Gabler" should be sounded
long and full, like the "a" in "Garden"--NOT like the "a" in "gable" or in "gabble."
%
W. A.

Korean
note: 주를 달다, 적어두다, 어음, 음표,
주의, 저명, 주목, 선율, 부호, 메모,
각서.
superfluous: 여분의.
 Henrik Ibsen 11

PERSONS REPRESENTED

GEORGE TESMAN.%
HEDDA TESMAN, his wife.
MISS JULIANA TESMAN, his aunt.
MRS. ELVSTED.
JUDGE BRACK.
EILERT LOVBORG.
BERTA, servant at the Tesmans.

The scene of the action is Tesman's villa, in the west end of Christiania.

Korean
aunt: 고모, 아주머니, 백모, 숙모, 부하, 공무원, 종업원, 하인의.
이모. villa: 별장, 교외 주택, 장원, 별장식
judge: 판단하다, 재판관, 재판하다, 집.
판사, 사사기, 심판자, 비판하다, west: 서쪽, 서쪽의, 서쪽에서의, 서부,
사사, 판결을내리다, 판결을 내리다, 죽다, 서양, 서부 지방, 제단의
심판하는 사람. 반대측, 이서, 서쪽에 있는, 서.
mrs: 여사, 부인, 님. wife: 여자, 처, 아내, 부인.
scene: 추태, 경치, 장면, 장, 사건,
광경, 나타나다, 무대 배경이나 세트,
실황, 언쟁하다, 은밀히.
servant: 하인, 봉사자, 고용인, 머슴,
12 Hedda Gabler

ACT %I

[A spacious, handsome, and tastefully furnished drawing room, decorated

in dark colours. In the back, a wide doorway with curtains drawn back,
leading into a smaller room decorated in the same style as the drawing-room.
In the right-hand wall of the front room, a folding door leading out to the
hall. In the opposite wall, on the left, a glass door, also with curtains drawn
back. Through the panes can be seen part of a verandah outside, and trees
covered with autumn foliage. An oval table, with a cover on it, and
surrounded by chairs, stands well forward. In front, by the wall on the right,
a wide stove of dark porcelain, a high-backed arm-chair, a cushioned foot-
rest, and two footstools. A settee, with a small round table in front of it, fills
the upper right-hand corner. In front, on the left, a little way from the wall, a
sofa. Further back than the glass door, a piano. On either side of the doorway
at the back a whatnot with terra-cotta and majolica ornaments.-- Against the
back wall of the inner room a sofa, with a table, and one or two chairs. Over
the sofa hangs the portrait of a handsome elderly man in a General's uniform.
Over the table a hanging lamp, with an opal glass shade.--A number of
bouquets are arranged about the drawing-room, in vases and glasses. Others
lie upon the tables. The floors in both rooms are covered with thick carpets.--
Morning light. The sun shines in through the glass door.

Korean
decorated: 장식식의, 훈장을 받은, 형적이 뚜렷하다, 전등, 지식 따위의 되는.
훌륭하게 꾸민, 장식된. 광명, 눈, 마음 따위의 광명, 비추다, settee: 긴 의자.
doorway: 문간, 입구. 빛나다. sofa: 소파, 긴의자.
drawing-room: 응접실, 특별 객실, majolica: 마졸리카 도자기, 마졸리카. spacious: 넓찍한, 넓은, 드넓은.
회견, 제도실. opal: 단백석, 오팔. stove: 난로, 스토브, 온실, 온실에서
folding: 접는, 접을 수 있는, 저게된. oval: 달걀 모양의, 난형, 난형의. 재배하다, 요리용 난로, 온실에서
foliage: 잎, 잎장식, 잎 무늬 장식, porcelain: 자기 제품, 자기. 속상 재배하다.
잎전부. right-hand: 오른쪽으로 꼬인, 오른쪽, tastefully: 우아하게, 풍류있게.
furnished: 가구 달린, 구색을 갖춘, 심복의, 오른손의, 가장 쓸모 있는, verandah: 베란다.
재고량이 ...한. 믿을 만한, 우측의, 오른편의, whatnot: 얹어 놓는 선반, 이것저것,
lamp: 램프, 광명, 등불, 애써 쓴 오른쪽의, 오른손을 쓰는, 심복이 선반.
 Henrik Ibsen 13

[MISS JULIANA TESMAN, with her bonnet on a carrying a parasol, comes

in from the hall, followed by BERTA, who carries a bouquet wrapped in
paper. MISS TESMAN is a comely and pleasant- looking lady of about sixty-
five. She is nicely but simply dressed in a grey walking-costume. BERTA is a
middle-aged woman of plain and rather countrified appearance.]
MISS TESMAN.
[Stops close to the door, listens, and says softly:] Upon my word, I don't
believe they are stirring yet!
BERTA.
[Also softly.] I told you so, Miss. Remember how late the steamboat got in
last night. And then, when they got home!--good Lord, what a lot the young
mistress had to unpack before she could get to bed.%
MISS TESMAN.
Well well--let them have their sleep out. But let us see that they get a good
breath of the fresh morning air when they do appear. [She goes to the glass
door and throws it open.
BERTA.
[Beside the table, at a loss what to do with the bouquet in her hand.] I declare
there isn't a bit of room left. I think I'll put it down here, Miss. [She places it
on the piano.
MISS TESMAN.
So you've got a new mistress now, my dear Berta. Heaven knows it was a
wrench to me to part with you.
BERTA.
[On the point of weeping.] And do you think it wasn't hard for me, too, Miss?
After all the blessed years I've been with you and Miss Rina.
MISS TESMAN.
We must make the best of it, Berta. There was nothing else to be done. George
can't do without you, you see-he absolutely can't. He has had you to look
after him ever since he was a little boy.

Korean
blessed: 축복을 받은, 행복한, 복된, 생긴. parasol: 파라솔, 양산.
신성한, 저주받은, 축복받은, 축성된, countrified: 전원풍의, 시골풍의, steamboat: 기선.
기쁜. 세련되지 못한, 시골티 나는, 야취가 stirring: 감동시키는, 붐비는, 활발한,
bonnet: 덮개, 보닛, 남자모자, 있는, 촌티 나는. 활약하는.
여자모자, 테 없는 모자, 공모자. declare: 언명하다, 선언하다, unpack: 풀다, 꺼내다, 꾸러미를
bouquet: 꽃다발, 향기, 듣기 좋은 말, 성명하다, 신고하다, 공언하다, 끄르다, 도로 빼내다, 짐을 풀다, 짐을
화환. 언명해 놓고 그만두다, 신고하다- 부리다, 꾸러미를 풀다, 꾸러미에서
can't: 못 하다. 공언하다, 단언하다, 나타내다, 꺼내다, 언팩하다, 짐 등에서 꺼내다.
comely: 적당한, 알맞은, 걸맞는, 알리다, 포고하다. wrench: 렌치, 비틀다, 비틀어 떼다,
자색이고운, 아름다운, 어울리는, don't: 금지조항서, 하지마세요. 비틂, 왜곡하다, 억지로 끌어댐, 삐다,
얼굴이 잘생긴, 미모의, 얼굴이 잘 middle-aged: 중년의, 중년에 알맞은. 비틀기, 뒤틀리다, 비통함, 비통.
14 Hedda Gabler

BERTA.
Ah but, Miss Julia, I can't help thinking of Miss Rina lying helpless at home
there, poor thing. And with only that new girl too! She'll never learn to take
proper care of an invalid.%
MISS TESMAN.
Oh, I shall manage to train her. And of course, you know, I shall take most of
it upon myself. You needn't be uneasy about my poor sister, my dear Berta.
BERTA.
Well, but there's another thing, Miss. I'm so mortally afraid I shan't be able to
suit the young mistress.
MISS TESMAN.
Oh well--just at first there may be one or two things---
BERTA.
Most like she'll be terrible grand in her ways.
MISS TESMAN.
Well, you can't wonder at that--General Gabler's daughter! Think of the sort
of life she was accustomed to in her father's time. Don't you remember how
we used to see her riding down the road along with the General? In that long
black habit--and with feathers in her hat?
BERTA.
Yes, indeed--I remember well enough!--But, good Lord, I should never have
dreamt in those days that she and Master George would make a match of it.
MISS TESMAN.
Nor I.--But by-the-bye, Berta--while I think of it: in future you mustn't say
Master George. You must say Dr. Tesman.
BERTA.
Yes, the young mistress spoke of that too--last night--the moment they set
foot in the house. Is it true then, Miss?
MISS TESMAN.
Yes, indeed it is. Only think, Berta--some foreign university has made him a
Korean
accustomed: 익숙한, 평소의, 여느 드러누워 있는. riding: 승마, 구, 승차, 승마의, 승차
때와 다름없는, 길든, 습관의, 에 manage: 처리하다, 다루다, 조종하다, 말길, 승마용의.
익숙한. 경영하다, 관리하다, 조교하다, terrible: 무서운, 몹시, 극히 서투른,
hat: 푹쉬다, 추기경의 빨간 모자, 취급하다, 헤쳐나가다, 먹다, 호된, 무서운 사람, 대단한.
모자. 어거하다, 어겨하다. uneasy: 불안한, 걱정되는, 거북한,
helpless: 의지할 데 없는, 무력한, mistress: 정부, 애인, 여교사, 주부, 어색한.
어찌할 도리 없는, 의지할 사람이 부인, 여지배자, 여주인, 연인, 여왕, wonder: 이 아닐까 생각하다, 놀라다,
없는, 어찌할 수 없는, 의지할 곳이 한 집안의 안 주인, 주인. 놀라움, 이상하게 생각하다,
없는. mortally: 몹시, 치명적으로, 불가사의, 놀라운, 놀라운 사물,
lying: 거짓말의, 거짓말쟁이의, 인간으로서, 죽을 정도로. 경탄할 만한 사람, 경탄할 불가사의한
드러눕기, 거짓말하기, 거짓말하는, myself: 나 자신, 내자신, 자기. 사람, 경이, 의심하다.
 Henrik Ibsen 15

doctor--while he has been abroad, you understand. I hadn't heard a word

about it, until he told me himself upon the pier.%
BERTA.
Well well, he's clever enough for anything, he is. But I didn't think he'd have
gone in for doctoring people.
MISS TESMAN.
No no, it's not that sort of doctor he is. [Nods significantly.] But let me tell
you, we may have to call him something still grander before long.
BERTA.
You don't day so! What can that be, Miss?
MISS TESMAN.
[Smiling.] H'm--wouldn't you like to know! [With emotion.] Ah, dear dear--if
my poor brother could only look up from his grave now, and see what his
little boy has grown into! [Looks around.] But bless me, Berta--why have you
done this? Taken the chintz covers off all the furniture.
BERTA.
The mistress told me to. She can't abide covers on the chairs, she says.
MISS TESMAN.
Are they going to make this their everyday sitting-room then?
BERTA.
Yes, that's what I understood--from the mistress. Master George--the doctor--
he said nothing.
[GEORGE TESMAN comes from the right into the inner room, humming to
himself, and carrying an unstrapped empty portmanteau. He is a middle-
sized, young-looking man of thirty-three, rather stout, with a round, open,
cheerful face, fair hair and beard. He wears spectacles, and is somewhat
carelessly dressed in comfortable indoor clothes.]
MISS TESMAN.
Good morning, good morning, George.

Korean
abide: 지탱하다, 살다, 머무르다, 찬양하다, 축복하다, 신을 찬양하다, 씽씽한, 붕붕하는, 거품 이는,
기다리다, 참고 견디다, 지속하다, 신을 하다, 은혜를 베풀다, 저주하다. 붕붕거리는, 소리를 내는.
머물다, 달게 받다, 규칙을 엄수하다, carelessly: 부주의하게, 태평하게, indoor: 옥내의, 실내의.
각오하고 기다리다, 따르다. 무심코, 경솔하게, 속 편하게. middle-sized: 중간 크기의.
beard: 수염, 미늘-수염을 잡다, chintz: 사라사 무명, 광택을 낸, portmanteau: 여행 가방, 양쪽으로
공공연히 반항하다, 미늘, 에게 화려한 프린트무늬가 있는 사라사 열리게 된 여행용 가방, 여행용 가방,
공공연히 반항하다, 의 수염을 무명, 친츠. 합성어.
꺼두르다, 까락, 턱수염, 의 수염을 dressed: 요리 준비가 된, 옷을 입은, spectacles: 안경.
잡아 뽑다, 경사면, 깎아 내다. 과거분사, 손질을 한. stout: 뚱뚱한, 튼튼한, 용감한, 살찐,
bless: 찬미하다, 정화하다, 수호하다, everyday: 일상의, 매일의. 흑맥주, 억센, 비만형의 옷, 끄떡도
은총을 내리다, 신성케 하다, humming: 활발한, 콧노래, 번성하는, 않는, 독한, 스타우트.
16 Hedda Gabler

TESMAN.
[In the doorway between the rooms.] Aunt Julia! Dear Aunt Julia! [Goes up
to her and shakes hands warmly.] Come all this way--so early! Eh?
MISS TESMAN.
Why, of course I had to come and see how you were getting on.%
TESMAN.
In spite of your having had no proper night's rest?
MISS TESMAN.
Oh, that makes no difference to me.
TESMAN.
Well, I suppose you got home all right from the pier? Eh?
MISS TESMAN.
Yes, quite safely, thank goodness. Judge Brack was good enough to see me
right to my door.
TESMAN.
We were so sorry we couldn't give you a seat in the carriage. But you saw
what a pile of boxes Hedda had to bring with her.
MISS TESMAN.
Yes, she had certainly plenty of boxes.
BERTA.
[To TESMAN.] Shall I go in and see if there's anything I can do for the
mistress?
TESMAN.
No thank you, Berta--you needn't. She said she would ring if she wanted
anything.
BERTA.
[Going towards the right.] Very well.
TESMAN.
But look here--take this portmanteau with you.

Korean
carriage: 탈것, 몸가짐, 운반, 수송, 잔교. ring: 반지, 울림, 연륜, 도당, 울리다,
태도, 운임, 통과, 운반대, 유모차, pile: 전퇴, 솜털, 양털, 말뚝 박기, 큰 팔찌, 나이테, 고리, 울리는 소리,
포가, 처리. 말뚝, 대건축물, 보풀, 재산, 치다, 경마장.
difference: 다름, 불화, 차이점, 차액, 축적하다, 전지, 원자로-쌓아 올리다. safely: 몹시 조심하는, 무사한, 믿을
의견 차이. plenty: 많음, 풍부, 충분한, 많은, 수 있는, 틀림없는, 안전한, 안전하게.
eh: 그렇지요?, 엣?, 뭐?. 충분히, 충분, 충분히-많은, 충분한- seat: 자리, 의석, 좌석, 소재지, 예약석,
goes: 미국의 정지 기상 위성. 충분히, 가득함, 다량. 의자, 왕권, 승마자세, 왕위, 의원의
goodness: 친절, 미덕, 선량함, 좋음, proper: 독특한, 적당한, 진정한, 지위, 의자의 재료.
신, 선량, 미점. 엄밀한 의미에서의, 고유의, 옳은, spite: 악의, 원한, 앙심으로, 에 짓궂게
pier: 교각, 부두, 방파제, 선창, 예의바른, 순전한, 특정한 날짜의 굴다, 을 돌보지 않고, 에도 불구하고,
창문사이의 벽, 창과 창 사이의 벽, 예배, 고유한, 아주. 짓궂게 굴다, 앙갚음하다.
 Henrik Ibsen 17

BERTA.
[Taking it.] I'll put it in the attic. [She goes out by the hall door.%
TESMAN.
Fancy, Auntie--I had the whole of that portmanteau chock full of copies of
the documents. You wouldn't believe how much I have picked up from all
the archives I have been examining--curious old details that no one has had
any idea of---
MISS TESMAN.
Yes, you don't seem to have wasted you time on your wedding trip, George.
TESMAN.
No, that I haven't. But do take off your bonnet, Auntie. Look here! Let me
untie the strings--eh?
MISS TESMAN.
[While he does so.] Well well--this is just as if you were still at home with us.
TESMAN.
[With the bonnet in his hand, looks at it from all sides.] Why, what a
gorgeous bonnet you've been investing in!
MISS TESMAN.
I bought it on Hedda's account.
TESMAN.
On Hedda's account? Eh?
MISS TESMAN.
Yes, so that Hedda needn't be ashamed of me if we happened to go out
together.
TESMAN.
[Patting her cheek.] You always think of everything, Aunt Julia. [Lays the
bonnet on a chair beside the table.] And now, look here-- suppose we sit
comfortably on the sofa and have a little chat, till Hedda comes. [They seat
themselves. She places her parasol in the corner of the sofa.

Korean
archives: 고기록, 공문서, 잡담하기. till: 까지, 갈다, 돈궤, 서랍, 귀중품함,
공무서보관소, 공문서보관소, chock: 굄목, 쐐기, 가득히, 으로 가득 할 때까지는, 하여 마침내, 표석 점토,
기록보관소. 채우다, 보트를 받침 나무에 얹다, 배양하다, 땅을 갈다, 까지줄곧.
ashamed: 낯을 붉히어, 부끄러워하여, 쐐기로 괴다, 초크, 곽채우다, 잔뜩, trip: 여행, 과실, 소풍, 실수하다, 실언,
부끄러이 여겨, 부끄러워. 밧줄걸이, 빽빽이. 걸려서 넘어지다, 실족, 딴죽걸기,
attic: 다락방, 아테네풍의, 고전풍의, comfortably: 기분좋게, 안락하게, 짧은 항해, 실족하다, 가볍게 걷다.
고미다락, 더그매 두 고미 다락, 부족함이 없이. untie: 풀다, 끄르다, 속박을 풀다,
더그매 두 고미 다락방, 애틱. documents: 문서. 해결하다, 풀리다, 해방하다.
chat: 지빠귀과의 작은 새, 잡담하다, gorgeous: 호화스러운, 화려한, wasted: 황폐한, 살해된, 지나간.
잡담, 에게 말을 걸다, 담소하다, 훌륭한. wedding: 결혼 기념식, 결혼, 혼례,
한담, 지빠귀과의 작은새, 담소, 채트, picked: 정선한, 깨끗이 한, 쥐어뜯는. 결합, 결혼식, 결혼의.
18 Hedda Gabler

MISS TESMAN.
[Takes both his hands and looks at him.] What a delight it is to have you
again, as large as life, before my very eyes, George! My George--my poor
brother's own boy!
TESMAN.
And it's a delight for me, too, to see you again, Aunt Julia! You, who have
been father and mother in one to me.%
MISS TESMAN.
Oh yes, I know you will always keep a place in your heart for your old aunts.
TESMAN.
And what about Aunt Rina? No improvement--eh?
MISS TESMAN.
Oh, no--we can scarcely look for any improvement in her case, poor thing.
There she lies, helpless, as she has lain for all these years. But heaven grant I
may not lose her yet awhile! For if I did, I don't know what I should make of
my life, George--especially now that I haven't you to look after any more.
TESMAN.
[Patting her back.] There there there---!
MISS TESMAN.
[Suddenly changing her tone.] And to think that here are you a married man,
George!--And that you should be the one to carry off Hedda Gabler --the
beautiful Hedda Gabler! Only think of it--she, that was so beset with
admirers!
TESMAN.
[Hums a little and smiles complacently.] Yes, I fancy I have several good
friends about town who would like to stand in my shoes--eh?
MISS TESMAN.
And then this fine long wedding-tour you have had! More than five-- nearly
six months---

Korean
awhile: 잠시, 잠깐. 매우 기쁘게 하다. improvement: 개선, 진보, 향상, 개량,
beset: 공격하다, 꾸미다, 괴롭히다, fancy: 변덕, 공상하다, 취미, 공상, 이용, 개량된 것, 개량 공사,
둘러싸다, 방해하다, 범하기 쉬운, 애호가들, 좋아하다, 도락, 터무니 개수공사이용 활용.
빠지기 쉬운, 습격하다, 포위하다, 없는, 공상력, 공상의, 애호물로 lose: 실패하다, 지다, 잃다, 벗어나다,
장식하다, 에 박아 넣다. 색다른 동물 등을 기르다. 패하다, 줄다, 정신 팔리다, 을
changing: 작고 보기 어리석은 동물, grant: 허가, 인가, 하사, 승낙하다, 잃게하다, 손해보다, 늦어서 못타다,
작고 보기 어리석은 사람, 남몰래 인정하다, 수여하다, 교부, 양도, 쇠하다.
바꿔치기한 어린애, 작고 보기 흉한 양도하다, 교부금, 내리다. married: 결혼한, 부부의, 기혼자,
사람, 작고 보기 흉한 동물. hands: 소유, 일군. 기혼의.
delight: 기쁨, 기뻐하다, 즐기다, heaven: 하늘, 천국, 상공, 하느님, scarcely: 겨우, 거의, 이 아니다, 하지
즐겁게하다, 유쾌, 기쁘게 하는 것, 천제, 어머나. 않는 일은 좀처럼 없다, 간신히.
 Henrik Ibsen 19

TESMAN.
Well, for me it has been a sort of tour of research as well. I have had to do so
much grubbing among old records--and to read no end of books too,
Auntie.%
MISS TESMAN.
Oh yes, I suppose so. [More confidentially, and lowering her voice a little.]
But listen now, George,--have you nothing--nothing special to tell me?
TESMAN.
As to our journey?
MISS TESMAN.
Yes.
TESMAN.
No, I don't know of anything except what I have told you in my letters. I had
a doctor's degree conferred on me--but that I told you yesterday.
MISS TESMAN.
Yes, yes, you did. But what I mean is--haven't you any--any-- expectations---?
TESMAN.
Expectations?
MISS TESMAN.
Why you know, George--I'm your old auntie!
TESMAN.
Why, of course I have expectations.
MISS TESMAN.
Ah!
TESMAN.
I have every expectation of being a professor one of these days.
MISS TESMAN.
Oh yes, a professor---

Korean
auntie: 아줌마, 미사일 요격용 미사일, journey: 여행하다, 여정, 여행, 보통 suppose: 생각하다, 상상하다, 믿다,
영국 방송 협회, 미사일 요격미사일. 육로의 여행. 가정하다, 을 필요 조건으로 하다,
books: 책. listen: 듣다, 따르다, 경청하다, 상정하다, 만약...이라면, 만약,
confidentially: 심복으로. 도청하다, 귀를 기울이다, 들리다, 이라면, 의 가정을 필요로 하다.
degree: 계급, 정도, 학위, 눈금, 지위, 들어 주다, 처럼 들리다. tour: 관광 여행, 소풍, 주유, 만유하다,
도, 급, 친등. lowering: 내려가는, 비천한, 교대기간, 견학하다, 교대, 근무 기간,
except: 제외하다, 반대하다, 기피하다, 저하시키는, 저하, 낮게 하는. 여행하다, 순회 공연, 느린 속력으로
을 제하고는, 외에는, 빼다, 이의를 professor: 교수, 선생, 공언자, 신앙 달리다.
내세우다. 고백자, 교수의 직, 지휘자, 무용 yesterday: 어제, 최근, 어저께, 작금,
expectation: 기대, 가망성, 예기, 예상, 따위의 선생, 요술 따위의 선생, 권투 과거, 요 사이, 요즈음, 요즈음에,
유산 상속의 가망성, 바라는 목표. 따위의 선생. 지난날, 최근에.
20 Hedda Gabler

TESMAN.
Indeed, I may say I am certain of it. But my dear Auntie--you know all about
that already!
MISS TESMAN.
[Laughing to herself.] Yes, of course I do. You are quite right there.
[Changing the subject.] But we were talking about your journey. It must have
cost a great deal of money, George?
TESMAN.
Well, you see--my handsome travelling-scholarship went a good way.%
MISS TESMAN.
But I can't understand how you can have made it go far enough for two.
TESMAN.
No, that's not easy to understand--eh?
MISS TESMAN.
And especially travelling with a lady--they tell me that makes it ever so much
more expensive.
TESMAN.
Yes, of course--it makes it a little more expensive. But Hedda had to have this
trip, Auntie! She really had to. Nothing else would have done.
MISS TESMAN.
No no, I suppose not. A wedding-tour seems to be quite indispensable
nowadays.--But tell me now--have you gone thoroughly over the house yet?
TESMAN.
Yes, you may be sure I have. I have been afoot ever since daylight.
MISS TESMAN.
And what do you think of it all?
TESMAN.
I'm delighted! Quite delighted! Only I can't think what we are to do with the
two empty rooms between this inner parlour and Hedda's bedroom.

Korean
afoot: 걸어서, 진행중에, 일어나서, expensive: 비싼, 사치스런, 비싸다, parlour: 객실, 거실, 응접실, 면회실,
도보로, 계획되어. 비용이 되는, 값비싼. 특별 휴게실, 객실용의, 영업소, 원래
bedroom: 침실, 침실용의, 통근자가 handsome: 상당한, 활수한, 단정하게 객실, 원래 객실풍으로 설비한
사는. 잘 생긴, 훌륭한, 멋진. 영업소, 클럽 따위의 특별 담화실,
daylight: 일광, 주간, 낮, 틈, 눈, 이해, indispensable: 피할 수 없는, 필요 특별 담화실.
의식. 불가결한, 피치못할, 절대필요한것, rooms: 한조의 방.
delighted: 기쁜, 매우 즐거운. 없어서는 안되는, 필요불가결한 사람, thoroughly: 철저히, 순전히,
empty: 배고픈, 공허한, 빈, 비우다, 없어서는 안될. ㅁㅇ완전히, 충분히, 완전히.
무의미한, 비어있는, 비다, 에 inner: 내부의, 안의, 정신의, 영적인, travelling: 이동, 순업, 여행의,
흘러들다, 물 등을 내보내다, 옮기다, 밥통, 비밀의, 위, 영혼, 안쪽의, 여행하는 여행, 이동하는, 여행함,
없는. 과녁의 내권내권 명중, 식욕. 여행용의, 여행.
 Henrik Ibsen 21

MISS TESMAN.
[Laughing.] Oh my dear George, I daresay you may find some use for them--
in the course of time.%
TESMAN.
Why of course you are quite right, Aunt Julia! You mean as my library
increases--eh?
MISS TESMAN.
Yes, quite so, my dear boy. It was your library I was thinking of.
TESMAN.
I am specially pleased on Hedda's account. Often and often, before we were
engaged, she said that she would never care to live anywhere but in
Secretary Falk's villa.
MISS TESMAN.
Yes, it was lucky that this very house should come into the market, just after
you had started.
TESMAN.
Yes, Aunt Julia, the luck was on our side, wasn't it--eh?
MISS TESMAN.
But the expense, my dear George! You will find it very expensive, all this.
TESMAN.
[Looks at her, a little cast down.] Yes, I suppose I shall, Aunt!
MISS TESMAN.
Oh, frightfully!
TESMAN.
How much do you think? In round numbers?--Eh?
MISS TESMAN.
Oh, I can't even guess until all the accounts come in.

Korean
anywhere: 어디에든, 어디에나, expense: 비용, 지출, 손실, 희생, 개인의 문고, 총서.
어디엔가, 대체로, 아무데도, 지출금, 비용이 드는 일, 비돈이 드는 luck: 행운, 불행히도, 운, 불운.
어딘가에, 어딘가로, 어디든지, 일, 소요 경비. lucky: 행운의, 운이좋은, 상서로운,
다소라도, 어디로든지. frightfully: 지독히, 무시무시하게, 운이 좋은, 재수 좋은 사람, 도망,
cast: 던지다, 캐스트, 주조되다, 무섭게, 몹시. 행운을 가져오는.
던지기, 해고하다, 향하다, 버리다, guess: 추측, 생각하다, 알아맞히다, pleased: 기뻐하는, 만족한.
경향, 주조하다, 배정하다, 계산하다. 추측하다, 직각하다, 라고 생각하다, specially: 임시로, 특히, 특별한
dear: 친애하는, 귀여운, 귀여운 사람, 풀어맞히다, 생각해맞히다, 추단하다, 방법으로, 특별히, 일부러, 특제로,
아니 그런데, 귀중한, 참, 비싸게, 어림 짐작으로 말하다. 각별히, 모처럼.
비싼, 친애하는 사람, 애인, 사랑하는 library: 장서, 서재, 표준 프로그램의
사람. 수집, 도서관, 문고, 독서 클럽,
22 Hedda Gabler

TESMAN.
Well, fortunately, Judge Brack has secured the most favourable terms for me,
so he said in a letter to Hedda.%
MISS TESMAN.
Yes, don't be uneasy, my dear boy.--Besides, I have given security for the
furniture and all the carpets.
TESMAN.
Security? You? My dear Aunt Julia--what sort of security could you give?
MISS TESMAN.
I have given a mortgage on our annuity.
TESMAN.
[Jumps up.] What! On your--and Aunt Rina's annuity!
MISS TESMAN.
Yes, I knew of no other plan, you see.
TESMAN.
[Placing himself before her.] Have you gone out of your senses, Auntie? Your
annuity--it's all that you and Aunt Rina have to live upon.
MISS TESMAN.
Well well--don't get so excited about it. It's only a matter of form you know--
Judge Brack assured me of that. It was he that was kind enough to arrange
the whole affair for me. A mere matter of form, he said.
TESMAN.
Yes, that may be all very well. But nevertheless---
MISS TESMAN.
You will have your own salary to depend upon now. And, good heavens,
even if we did have to pay up a little---! To eke things out a bit at the start---!
Why, it would be nothing but a pleasure to us.
TESMAN.
Oh Auntie--will you never be tired of making sacrifices for me!

Korean
affair: 일, 사건, 물건, 물품, 사무, 보험을 건, 보증된. fortunately: 다행히도, 운좋게,
하기, 문제, 추문, 전투, 일거리, 연애 depend: 의지하다, 믿다, 의존하다, 다행히.
사건. 종속하다, 매달리다, 나름이다, mere: 호수, 단순한, 에 불과한, 못,
annuity: 연금, 연금 수령권. 미결이다. 명색뿐인, 에 지나지 않는, 전적인
arrange: 배열하다, 조정하다, eke: 그리고 또, 보충하다, 꾸려나가다, 호수.
정리하다, 가지런히 하다, 준비하다, 도 또한, 또한. mortgage: 저당, 저당권, 저당잡힘,
마련하다, 미리 가지런히 하다, excited: 흥분한, 흥분한 활발한, 담보 저당잡히다, 내던지고 달리다,
해결하다, 처리하다-타합하다, 여기한, 여기 상태의. 저당잡히다, 양도 저당, 저당 잡히기.
계획하다, 가지런히하다. favourable: 유리한, 승낙의, 알맞은, salary: 봉급, 월급, 에게 봉급을 주다,
assured: 자신있게, 확실한, 보험에 찬성의, 호희를 보이는, 유망한, 급료.
부친, 확신하여, 자신 있는, 생명 호의를 보이는.
 Henrik Ibsen 23

MISS TESMAN.
[Rises and lays her hand on his shoulders.] Have I any other happiness in
this world except to smooth your way for you, my dear boy. You, who have
had neither father nor mother to depend on. And now we have reached the
goal, George! Things have looked black enough for us, sometimes; but, thank
heaven, now you have nothing to fear.%
TESMAN.
Yes, it is really marvellous how every thing has turned out for the best.
MISS TESMAN.
And the people who opposed you--who wanted to bar the way for you-- now
you have them at your feet. They have fallen, George. Your most dangerous
rival--his fall was the worst.--And now he has to lie on the bed he has made
for himself--poor misguided creature.
TESMAN.
Have you heard anything of Eilert? Since I went away, I mean.
MISS TESMAN.
Only that he is said to have published a new book.
TESMAN.
What! Eilert Lovborg! Recently--eh?
MISS TESMAN.
Yes, so they say. Heaven knows whether it can be worth anything! Ah, when
your new book appears--that will be another story, George! What is it to be
about?
TESMAN.
It will deal with the domestic industries of Brabant during the Middle Ages.
MISS TESMAN.
Fancy--to be able to write on such a subject as that!
TESMAN.
However, it may be some time before the book is ready. I have all these
collections to arrange first, you see.
Korean
bar: 바, 모기장, 막대기, 장벽, 차단봉, 가정의, 길든. marvellous: 훌륭한, 불가사의한,
장애, 막다, 돌난대-빗장을 fallen: 타락한, 쓰러진, 파멸한, 죽은, 놀라운, 놀랄만한, 기이.
지르다잠그다, 관문, 가로장, 법조계. 떨어진, 전복된. misguided: 오도된.
creature: 생물, 창조물, 인간, 노예, goal: 목적지, 결승점, 골, 결승표, neither: 도 않고, 그것은 관계없는
소산, 녀석, 사람, 가공의 동물, 지배 결승점으로 향하다, 결승선, 목표, 일이다, 도 아니고, 또한 ...도 않다.
당하는 자, 여자, 부하. 목표로 향하다. opposed: 반대의, 적대하는, 대립된,
dangerous: 위험한, 위독한, happiness: 행복, 행운, 유쾌, 교묘, 반대하는.
무시무시한, 위험하게. 적절, 기쁨, 교묘함. smooth: 유창한, 매끄러운, 반드럽게
domestic: 국내의, 하인, 가정적인, lie: 거짓말, 방향, 눕다, 위치, 있다, 함, 부드러운, 입에 당기는, 평지,
하녀, 길들여진, 국산의, 기대다, 향, 거짓말하다, 통해 있다, 반드러운 부분, 수염없는, 반드러운,
가정에충실한, 가정내의, 가사의, 사기, 소굴. 멋진, 귀에 거슬리지 않는.
24 Hedda Gabler

MISS TESMAN.
Yes, collecting and arranging--no one can beat you at that. There you are my
poor brother's own son.%
TESMAN.
I am looking forward eagerly to setting to work at it; especially now that I
have my own delightful home to work in.
MISS TESMAN.
And, most of all, now that you have got the wife of your heart, my dear
George.
TESMAN.
[Embracing her.] Oh yes, yes, Aunt Julia! Hedda--she is the best part of it all! I
believe I hear her coming--eh?
[HEDDA enters from the left through the inner room. Her face and figure
show refinement and distinction. Her complexion is pale and opaque. Her
steel-grey eyes express a cold, unruffled repose. Her hair is of an agreeable
brown, but not particularly abundant. She is dressed in a tasteful, somewhat
loose-fitting morning gown.]
MISS TESMAN.
[Going to meet HEDDA.] Good morning, my dear Hedda! Good morning,
and a hearty welcome!
HEDDA.
[Holds out her hand.] Good morning, dear Miss Tesman! So early a call! That
is kind of you.
MISS TESMAN.
[With some embarrassment.] Well--has the bride slept well in her new home?
HEDDA.
Oh yes, thanks. Passably.
TESMAN.
[Laughing.] Passably! Come, that's good, Hedda! You were sleeping like a
stone when I got up.
Korean
abundant: 풍족한, 남아돌 종도의, eagerly: 열심히, 간절히, 열망하여. 섬세한 고안.
풍요로운, 풍부한. hearty: 친절한, 튼튼한, repose: 눕히다, 쉬다, 침착, 휴식,
agreeable: 기분 좋은, 유쾌한, 적당한, 마음으로부터의, 배부른, 풍부한, 두다, 영면하다, 자다, 휴지, 영면,
어울리는, 쾌이 흥하는, 사근사근한, 열심인, 원기왕성한 사람, 충분한, 걸다, 조화.
마음에 드는, 맞는, 상냥한, 기꺼이 친구, 마음속으로부터의, 활기찬. sleeping: 수면.
동의하는. opaque: 불투명한, 우둔한, 충충한, tasteful: 풍아한, 품위있는, 풍류있는,
bride: 신부, 새색시. 광택없는, 광택이 없는, 불투명체, 취미가 고상한, 멋을 아는, 풍류를
complexion: 안색, 외관, 형세, 모양, 전기 따위에 대한 부전도성의, 열 아는.
양상, 형편, 혈색, 얼굴빛, 얼굴의 따위에 대한 부전도성의, 부전도성의. unruffled: 조용한, 냉정한,
살갗. refinement: 세련, 순화, 우아, 정제, 떠들어대지않는, 물결이 일지 않은,
delightful: 매우 기쁜, 즐거운. 고상, 정련, 진보, 개량, 개선, 극치, 혼란되지않은, 파문이 일지 않은.
 Henrik Ibsen 25

HEDDA.
Fortunately. Of course one has always to accustom one's self to new
surroundings, Miss Tesman--little by little. [Looking towards the left.] Oh,
there the servant has gone and opened the veranda door, and let in a whole
flood of sunshine.%
MISS TESMAN.
[Going towards the door.] Well, then we will shut it.
HEDDA.
No no, not that! Tesman, please draw the curtains. That will give a softer
light.
TESMAN.
[At the door.] All right--all right.--There now, Hedda, now you have both
shade and fresh air.
HEDDA.
Yes, fresh air we certainly must have, with all these stacks of flowers---. But--
won't you sit down, Miss Tesman?
MISS TESMAN.
No, thank you. Now that I have seen that everything is all right here--thank
heaven!--I must be getting home again. My sister is lying longing for me,
poor thing.
TESMAN.
Give her my very best love, Auntie; and say I shall look in and see her later in
the day.
MISS TESMAN.
Yes, yes, I'll be sure to tell her. But by-the-bye, George--[Feeling in her dress
pocket]--I had almost forgotten--I have something for you here.
TESMAN.
What is it, Auntie? Eh?

Korean
accustom: 익히다, 늘하는식의, 예의, 관개하다, 만조, 밀어닥치다, 넘쳐 shade: 그늘, 망령, 땅거미, 차양, 색조,
에 익숙해지다, 의히다. 흐르다, 쇄도, 호수, 대해, 강. 저승, 그늘지게하다, 색의 뉘앙스,
curtains: 한 권의 끝. fresh: 새로운, 신선한, 뻔뻔스러운, 바림하다, 으로부터 빛을 막다, 어둠.
draw: 끌다, 그리다, 당기다, 묘사하다, 원기좋은, 건방진, 경험이없는, shut: 닫히다, 잠기다, 잠그다, 잠가
뽑아내다, 자아내다, 이끌어내다, 상쾌한, 선명한, 새로이, 초기, 막다, 막다, 가로막다, 폐쇄음의,
접근하다, 이끌다, 제비, 빠지다. 새롭게하다. 휴업하다, 폐쇄하다, 닫다, 에 가두다.
dress: 의복, 정장하다, 예복, 드레스, longing: 갈망, 갈망하는, 사모, 고대, sister: 자매, 누이, 언니, 자매의, 수녀,
정열시키다, 다듬다, 입히다, 고향을 몹시 그리워하고 있다, 그리움 짝의, 여자친구, 여자 형제, 여성
정장시키다, 무두질하다, 치료하다, 갈망하는, 동경, 몹시 그리워하는. 단체, 부인회, 동생.
치장하다. self: 자기, 본인, 사욕, 이기심, 단일의, surroundings: 주위, 주위의 상태.
flood: 홍수, 범람, 범람하다, 진수, 귀사, 자아, 귀점, 자신, 나. veranda: 베란다, 툇마루.
26 Hedda Gabler

MISS TESMAN.
[Produces a flat parcel wrapped in newspaper and hands it to him.] Look
here, my dear boy.%
TESMAN. [Opening the parcel.] Well, I declare!--Have you really saved them for
me, Aunt Julia! Hedda! isn't this touching--eh?
HEDDA.
[Beside the whatnot on the right.] Well, what is it?
TESMAN.
My old morning-shoes! My slippers.
HEDDA.
Indeed. I remember you often spoke of them while we were abroad.
TESMAN.
Yes, I missed them terribly. [Goes up to her.] Now you shall see them,
Hedda!
HEDDA.
[Going towards the stove.] Thanks, I really don't care about it.
TESMAN.
[Following her.] Only think--ill as she was, Aunt Rina embroidered these for
me. Oh you can't think how many associations cling to them.
HEDDA.
[At the table.] Scarcely for me.
MISS TESMAN.
Of course not for Hedda, George.
TESMAN.
Well, but now that she belongs to the family, I thought---
HEDDA.
[Interrupting.] We shall never get on with this servant, Tesman.
MISS TESMAN.
Not get on with Berta?

Korean
abroad: 널리, 해외에, 틀려서, 퍼져서, 불경기의, 납작한, 납죽엎드린, 구획, 나누다, 일부분, 한 획의 토지.
집 밖에, 밖에, 집 밖으로, 잘못하여, 공기가빠진, 평평하게. spoke: 살, 에 살을 달다, 가로장, 바퀴
외국으로, 본거지 외에서, 국외로. newspaper: 신문사, 신문, 신문지, 멈추개, 타륜의 손잡이, 제륜자,
can't: 못 하다. 신문의, 신문용지, 신문업무에 제동자로 바퀴를 멈추다, 단목,
cling: 달라붙다, 집착하다, 배어들다, 종사하다, 신문인쇄용지, 신문 업무에 스포우크, 살을 달다.
착 달라 붙다, 접근을 유지하다, 종사하다. terribly: 무섭게, 무시무시하게, 몹시,
애착을 가지고 떨어지지 않다, 따라서 opening: 개시, 열기, 개시의, 광장, 지독하게, 심하게.
나아가다, 들러붙다, 달라붙어 안 구멍, 취직자리, 통로, 개통, 서두, whatnot: 얹어 놓는 선반, 이것저것,
떨어지다, 고수하다, 달라 붙다. 숲속의 공지, 틈. 선반.
flat: 노골적인, 맛없는, 김빠진, parcel: 꾸러미, 한 떼, 소포, 한 뭉치,
광택없는, 단조로운, 편평한, 분배하다, 소포로 하다, 소화물, 한
 Henrik Ibsen 27

TESMAN.
Why, dear, what puts that in your head? Eh?
HEDDA.
[Pointing.] Look there! She has left her old bonnet lying about on a chair.%
TESMAN.
[In consternation, drops the slippers on the floor.] Why,
Hedda---
HEDDA.
Just fancy, if any one should come in and see it!
TESMAN.
But Hedda--that's Aunt Julia's bonnet.
HEDDA.
Is it!
MISS TESMAN.
[Taking up the bonnet.] Yes, indeed it's mine. And, what's more, it's not old,
Madam Hedda.
HEDDA.
I really did not look closely at it, Miss Tesman.
MISS TESMAN.
[Trying on the bonnet.] Let me tell you it's the first time I have worn it--the
very first time.
TESMAN.
And a very nice bonnet it is too--quite a beauty!
MISS TESMAN.
Oh, it's no such great things, George. [Looks around her.] My parasol---? Ah,
here. [Takes it.] For this is mine too--[mutters] --not Berta's.
TESMAN.
A new bonnet and a new parasol! Only think, Hedda.

Korean
ah: 아아, 아이고. 경악. 것, 기뢰, 나의 가족들 광산, 철광,
beauty: 아름다움, 미, 아름다운 것, drops: 점적약. 보고, 광갱, 비밀수단으로 파괴하다,
미인, 터무니 없는 것, 좋은 점, eh: 그렇지요?, 엣?, 뭐?. 비밀수단으로 뒤엎다.
아름다운 동물, 미관, 아름다운것, fancy: 변덕, 공상하다, 취미, 공상, nice: 좋은, 훌륭한, 정밀한, 민감한,
미점, 미인들. 애호가들, 좋아하다, 도락, 터무니 근엄한, 어려운, 니스, 친절한,
bonnet: 덮개, 보닛, 남자모자, 없는, 공상력, 공상의, 애호물로 난처한, 예쁜, 가리는 것이 많은.
여자모자, 테 없는 모자, 공모자. 색다른 동물 등을 기르다. parasol: 파라솔, 양산.
closely: 꽉, 열심히, 밀접하게, 면밀히, lying: 거짓말의, 거짓말쟁이의, worn: 녹초가 된, 낡아 빠진,
접근하여, 일심으로, 알뜰하게, 드러눕기, 거짓말하기, 거짓말하는, 닳아빠진.
친밀하게, 엄중히, 친밀히, 엄밀히. 드러누워 있는.
consternation: 깜짝 놀람, 대경실색, mine: 광산, 풍부한 자원, 지뢰, 나의
28 Hedda Gabler

HEDDA.
Very handsome indeed.%
TESMAN.
Yes, isn't it? Eh? But Auntie, take a good look at Hedda before you go! See
how handsome she is!
MISS TESMAN.
Oh, my dear boy, there's nothing new in that. Hedda was always lovely. [She
nods and goes toward the right.
TESMAN.
[Following.] Yes, but have you noticed what splendid condition she is in?
How she has filled out on the journey?
HEDDA.
[Crossing the room.] Oh, do be quiet---!
MISS TESMAN.
[Who has stopped and turned.] Filled out?
TESMAN.
Of course you don't notice it so much now that she has that dress on. But I,
who can see---
HEDDA.
[At the glass door, impatiently.] Oh, you can't see anything.
TESMAN.
It must be the mountain air in the Tyrol---
HEDDA.
[Curtly, interrupting.] I am exactly as I was when I started.
TESMAN.
So you insist; but I'm quite certain you are not. Don't you agree with me,
Auntie?
MISS TESMAN.
[Who has been gazing at her with folded hands.] Hedda is lovely-- lovely--

Korean
agree: 일치하다, 동의하다, 찬성하다, 하는, 흙으로 돋우는, 팽팽하게 하는, 산더미처럼 큰 것, 산악당,
합의에 달하다, 맞다, 합치하다, 차지하는, 채우는, 가득 따르는, 프랑스사의 산악당.
합의에 도달하다, 합의 하다, 의견이 조제하는, 섞어 넣는, 바람을 가득 notice: 통지, 게시, 주의, 주의하다,
일치하다, 부합하다, 마음이 맞다. 받는. 고시, 통지하다, 언급하다, 후대,
air: 공기, 대기, 산들바람, 선율, 모양, insist: 주장하다, 우기다, 강요하다, 예고, 주목하다, 통보.
노래, 공중, 하늘, 태도, 가락, 외양. 고집하다, 억지로 하게 하다, splendid: 화려한, 빛나는, 훌륭한,
condition: 상태, 조절하다, 조건, 신분, 역설하다, 끝까지 우기다, 강력히 굉장한, 근사한, 멋진, 눈부신.
처지, 개량하다, 에게 조건 반사를 주장하다. toward: 에 대하여, 을 위하여, 가까이,
일으키게 하다, 조건절, 주위의 상황, lovely: 사랑스러움, 멋진, 사랑스러운, 온순한, 으로의, 의 쪽으로, 무렵,
불가결한 사정, 재시험. 미인, 아름다운, 기쁜. 쪽으로, 바야흐로 일어나려는, 에
filled: 차는, 충족시키는, 흡족하게 mountain: 산, 산더미 같은, 가까이, 전도 유망한.
 Henrik Ibsen 29

lovely. [Goes up to her, takes her head between both hands, draws it
downwards, and kisses her hair.] God bless and preserve Hedda Tesman--for
George's sake.%
HEDDA.
[Gently freeing herself.] Oh--! Let me go.
MISS TESMAN.
[In quiet emotion.] I shall not let a day pass without coming to see you.
TESMAN.
No you won't, will you, Auntie? Eh?
MISS TESMAN.
Good-bye--good-bye! [She goes out by the hall door. TESMAN accompanies
her. The door remains half open. TESMAN can be heard repeating his
message to Aunt Rina and his thanks for the slippers. [In the meantime,
HEDDA walks about the room, raising her arms and clenching her hands as
if in desperation. Then she flings back the curtains from the glass door, and
stands there looking out. [Presently, TESMAN returns and closes the door
behind him.
TESMAN.
[Picks up the slippers from the floor.] What are you looking at, Hedda?
HEDDA.
[Once more calm and mistress of herself.] I am only looking at the leaves.
They are so yellow--so withered.
TESMAN.
[Wraps up the slippers and lays them on the table.] Well, you see, we are well
into September now.
HEDDA.
[Again restless.] Yes, to think of it!--already in--in September.
TESMAN.
Don't you think Aunt Julia's manner was strange, dear? Almost solemn? Can
you imagine what was the matter with her? Eh?
Korean
calm: 평온한, 고요한, 뻔뻔스러운, 동안에, 이야기는 바뀌어, 한편 조용해지다, 정지.
무풍, 가라앉히다, 침착한, 침착, 이야기는 바뀌어. remains: 나머지, 유해.
고요, 냉정, 평온, 뱃심좋은. presently: 현재, 이내, 목하, 곧, repeating: 연발하는, 반복하는,
desperation: 절망, 자포자기, 기를 씀, 이윽고, 얼마 안되어, 곧바로. 순환하는, 되풀이하는.
필사. preserve: 보존하다, 금렵지, 보호하다, solemn: 엄숙한, 정식의, 격식 차린,
downwards: 쇠미한, 쇠잔하여, 저장하다, 양어장, 방부 조치를 하다, 신성한, 종교 상의, 진지한, 심각한
아래쪽으로. 유지하다, 사냥을 금하다-설탕 절임, 표정의, 종교상의, 중대한.
manner: 방법, 방식, 풍습, 태도, 다소, 설탕 절임, 사냥을 금하다, 금렵지로 thanks: 고마워요, 감사합니다,
작풍, 예절, 양식, 생활 양식, 종류, 하다. 고맙습니다, 감사.
예의. quiet: 조용함, 조용한, 침착한, 얌전한, withered: 시든, 쇠퇴한, 이운.
meantime: 이럭저럭하는 동안에, 그 평정한, 평정, 평온히, 침착, 조용히,
30 Hedda Gabler

HEDDA.
I scarcely know her, you see. Is she not often like that?
TESMAN.
No, not as she was to-day.%
HEDDA.
[Leaving the glass door.] Do you think she was annoyed about the bonnet?
TESMAN.
Oh, scarcely at all. Perhaps a little, just at the moment---
HEDDA.
But what an idea, to pitch her bonnet about in the drawing-room! No one
does that sort of thing.
TESMAN.
Well you may be sure Aunt Julia won't do it again.
HEDDA.
In any case, I shall manage to make my peace with her.
TESMAN.
Yes, my dear, good
Hedda, if you only would.
HEDDA.
When you call this afternoon, you might invite her to spend the evening
here.
TESMAN.
Yes, that I will. And there's one thing more you could do that would delight
her heart.
HEDDA.
What is it?
TESMAN.
If you could only prevail on yourself to say duto her. For my sake, Hedda?
Eh?

Korean
afternoon: 오후, 오후의, 석간, invite: 초대장, 초대하다, 끌다, 유행되다, 잘 되다, 설득하다.
오후에, 대낮. 가져오다, 초래하다, 간청하다, sake: 목적, 위함, 이유, 제발, 을 위함.
annoyed: 괴로운. 자아내다, 부탁하다, 끌다 spend: 돈을 쓰다, 들이다, 낭비하다,
evening: 저녁, 밤, 오후, 해질녁, 쏠리게하다, 야기시키다, 청하다. 보내다, 쓰다, 지쳐 빠지게 하다,
해질녁칭, 만년, 의 밤, 저녁 때, peace: 평화, 강화, 안심, 사이좋게, 다써버리다, 바치다, 산란하다,
저녁의. 조용히, 친안, 평온한, 평화로운, 지치게 하다, 돈을 들이다.
glass: 컵, 거울, 유리, 유리를 끼우다, 치안, 평온, 조용함. sure: 확실히, 튼튼한, 꼭, 틀림없는,
안경, 현미경, 온도계, 쌍안경, 술, pitch: 던지다, 고정 위치, 투구, 자신 있는, 확실히...하는, 확실한,
글라스, 유리면. 투구하다, 피치, 수지, 송진, 아래로 하다, 하는, 안전한.
heart: 심장, 가슴, 애정, 중심, 용기, 기울다, 치다, 투수를 맡다, 뒷질하다. yourself: 당신 자신, 정상적인 당신,
본심, 마음속, 마음, 원기, 핵심, 중앙. prevail: 이기다, 우세하다, 설복하다, 평소의 당신.
 Henrik Ibsen 31

HEDDA.
No, no, Tesman--you really mustn't ask that of me. I have told you so
already. I shall try to call her "Aunt"; and you must be satisfied with that.%
TESMAN.
Well well. Only I think now that you belong to the family,
you---
HEDDA.
H'm--I can't in the least see why--- [She goes up towards the middle
doorway.
TESMAN.
[After a pause.] Is there anything the matter with you, Hedda? Eh?
HEDDA.
I'm only looking at my old piano. It doesn't go at all well with all the other
things.
TESMAN.
The first time I draw my salary, we'll see about exchanging it.
HEDDA.
No, no--no exchanging. I don't want to part with it. Suppose we put it there
in the inner room, and then get another here in its place. When it's
convenient, I mean.
TESMAN.
[A little taken aback.] Yes--of course we could do that.
HEDDA.
[Takes up the bouquet from the piano.] These flowers were not here last
night when we arrived.
TESMAN.
Aunt Julia must have brought them for you.

Korean
ask: 청구하다, 초청하다, 불러내다, 보자고 요구하다, 큰소리로 least: 하다못해, 가장적게, 최소, 가장
결혼예고를발표하다, 묻다, 물어보다, 부르다, 명하다, 깨우다. 적게, 가장 작은.
부탁하다, 필요로하다, 청하다, can't: 못 하다. middle: 중앙, 중부, 허리, 중간,
세평을 묻다, 의뢰하다, 초대하다. convenient: 편리한, 에 가까운, 중명사몸통, 한가운데의, 중앙의,
belong: 에속하다, 의 것이다, 있다, 형편이 좋은, 손쉬운, 형편이좋은, 중간물, 중간에 두다, 중간의, 중명사.
있어야 하다, 속하다, 소속하다. 간편한 손쉽고 편리한, 사용하기 piano: 여리게, 피아노, 여린, 약음의,
bouquet: 꽃다발, 향기, 듣기 좋은 말, 좋은, 부근에. 피아노 연주, 피아노연주, 약음,
화환. course: 진행, 방침, 달리다, 연속, 약음부.
call: 부르다, 결과를 예상하다, 이라고 과정, 진로, 큰 가로돛, 침로를 잡다, satisfied: 만족한, 흡족한.
이름짓다, 중지시키다, 으로 경과, 가로 층, 돌다.
간주하다, 상환을 청구하다, don't: 금지조항서, 하지마세요.
32 Hedda Gabler

HEDDA.
[Examining the bouquet.] A visiting-card. [Takes it out and reads:] "Shall
return later in the day." Can you guess whose card it is?
TESMAN.
No. Whose? Eh?
HEDDA.
The name is "Mrs. Elvsted."
TESMAN.
Is it really? Sheriff Elvsted's wife? Miss Rysing that was.%
HEDDA.
Exactly. The girl with the irritating hair, that she was always showing off. An
old flame of yours I've been told.
TESMAN.
[Laughing.] Oh, that didn't last long; and it was before I met you, Hedda. But
fancy her being in town!
HEDDA.
It's odd that she should call upon us. I have scarcely seen her since we left
school.
TESMAN.
I haven't see her either for--heaven knows how long. I wonder how she can
endure to live in such an out-of-the way hole--eh?
HEDDA.
[After a moment's thought, says suddenly.] Tell me, Tesman--isn't it
somewhere near there that he--that--Eilert Lovborg is living?
TESMAN.
Yes, he is somewhere in that part of the country.
[BERTA enters by the hall door.]

Korean
endure: 지탱하다, 견디다, 참다, 겪다, 자극하다, 아리게하는, 신경질나는, sheriff: 주 장관, 보안관, 주 지사, 군
인내하다, 받다, 받다-인내하다, 비위에 거슬리는, 무효로 하다, 보안관.
허용하다. 노하게 하다. showing: 전시, 외관, 새가 좋다, 진열,
flame: 정열, 애인, 발끈하다, 광휘, odd: 여분의, 나머지의, 임시의, 짝이 꾸밈, 모양새, 전람, 상영, 성적,
정열을 드러내다, 빛나다, 불길, 맞지 않게, 묘한, 괴상하게, 은혜, 전시회, 정세.
훨훨타다, 화염, 불꽃, 태우다. 홀수의, 한쪽의, 장소 따위 동떨어진, somewhere: 어딘 가에, 어느땐가,
hall: 현관, 사무소, 홀, 넓은방, 회당, 이상한. 어디론가, 약, 어딘가에, 어딘가.
회관, 조합본부, 저택, 복도, 대 식당, return: 돌아가다, 되돌아가다, yours: 당신의, 당신의 편지, 당신의
교사. 대답하다, 답신하다, 보수, 반사하다, 것, 댁내, 경구, 당신의 역할, 당신의
irritating: 자극하는, 화나게 하는, 반환, 보답하다, 답례, 선출, 가족, 경백, 당신의 것인, 당신의
화나는, 초조하게 만들다, 짜증나는, 돌려주다. 본분, 드림.
 Henrik Ibsen 33

BERTA.
That lady, ma'am, that brought some flowers a little while ago, is here again.
[Pointing.] The flowers you have in your hand, ma'am.%
HEDDA.
Ah, is she? Well, please show her in.
[BERTA opens the door for MRS.ELVSTED, and goes out herself. --MRS.
ELVSTED is a woman of fragile figure, with pretty, soft features. Her eyes
are light blue, large, round, and somewhat prominent, with a startled,
inquiring expression. Her hair is remarkably light, almost flaxen, and
unusually abundant and wavy. She is a couple of years younger than
HEDDA. She wears a dark visiting dress, tasteful, but not quite in the latest
fashion.]
HEDDA.
[Receives her warmly.] How do you do, my dear Mrs. Elvsted? It's delightful
to see you again.
MRS. ELVSTED.
[Nervously, struggling for self-control.] Yes, it's a very long time since we
met.
TESMAN.
[Gives her his hand.] And we too--eh?
HEDDA.
Thanks for your lovely flowers---
MRS. ELVSTED.
Oh, not at all---. I would have come straight here yesterday afternoon; but I
heard that you were away---
TESMAN.
Have you just come to town? Eh?
MRS. ELVSTED.
I arrived yesterday, about midday. Oh, I was quite in despair when I heard
that you were not at home.
Korean
despair: 절망, 절망의 근원, 절망하다, 좋아하는, 탐구적인. startled: 놀란.
자포자기. ma'am: 마님, 부인, 아주머니, 선생님, struggling: 분투하는, 생활고와
flaxen: 아마의, 아마 같은, 엷은 여왕, 안주인, 주부, 공주에 대한 싸우는, 기를쓰는, 발버둥치는,
황갈색의, 아마로 만든, 아마빛의, 호칭, 마담, 선생 등 웃사람에 대한 노력하는.
아마색의. 호칭. unusually: 현저하게, 대단히, 몹시,
fragile: 부서지기 쉬운, 덧없는, midday: 정오, 대낮, 대낮의. 이상하게, 매우, 괴상하게, 보통과는
부서지기쉬운, 몸이약한, 부서지기 prominent: 현저한, 눈에 띄는, 달리, 유별나게, 전에 없이.
쉬운 물건이 들어 있음, 깨지기 쉬운. 돌출한, 중요한, 저명한, 두드러진, visiting: 방문, 방문용의.
inquiring: 알고 싶어 하는, 묻고 싶은 돌기한. wavy: 파도치는, 파장의, 파도 많은,
듯한, 묻는, 미심쩍은, 미심쩍은 듯한, remarkably: 두드러지게, 몹시, 물결이 일고 있는, 굽이치는,
알고 싶어하는, 호기심에찬, 캐묻기 현저하게, 뚜렷하게, 매우. 요동하는, 떨리는.
34 Hedda Gabler

HEDDA.
In despair! How so?
TESMAN.
Why, my dear Mrs. Rysing--I mean Mrs. Elvsted---
HEDDA.
I hope that you are not in any trouble?
MRS. ELVSTED.
Yes, I am. And I don't know another living creature here that I can turn to.%
HEDDA.
[Laying the bouquet on the table.] Come--let us sit here on the sofa---
MRS. ELVSTED.
Oh, I am too restless to sit down.
HEDDA.
Oh no, you're not. Come here. [She draws MRS. ELVSTED down upon the
sofa and sits at her side.
TESMAN.
Well? What is it, Mrs. Elvsted---?
HEDDA.
Has anything particular happened to you at home?
MRS. ELVSTED.
Yes--and no. Oh--I am so anxious you should not misunderstand me---
HEDDA.
Then your best plan is to tell us the whole story, Mrs. Elvsted.
TESMAN.
I suppose that's what you have come for--eh?
MRS. ELVSTED.
Yes, yes--of course it is. Well then, I must tell you--if you don't already know-
-that Eilert Lovborg is in town, too.

Korean
anxious: 하고 싶어하는, 불안한, misunderstand: 오해하다, 오해를 sit: 앉다, 개회하다, 불다, 맞다, 타다,
걱정스러운, 열망하는, 열망하여, 하다. 착석하다, 의석을 갖다, 얹혀 있다,
걱정하는. plan: 계획, 도면, 방책, 설계도를 착석시키다, 걸터 앉다, 출석하다.
hope: 희망하다, 바라다, 기대, 호프, 그리다, 뜻하다, 설계, 설계도, 지도- story: 소문, 전설, 이야기, 거짓말,
희망, 유망한 사람, 희망을 품다, 계획하다, 의 설계도를 그리다, 줄거리, 역사, 신상 이야기, 기사,
기대하다, 소망, 바람, 희망을 주는 계획하다, 계획을 세우다. 경력, 두뇌, 위층.
것. restless: 끊임없는, 불안한, 침착하지 trouble: 고생, 걱정하다, 소동, 고장,
living: 생계, 현존의, 생활, 생활에 못한, 잠잘 수 없는, 잠못이루는, 어려움, 벌을 받다, 귀찮은 일,
관한, 목사의 수입, 살림, 살아있는, 활동적인, 쉬지 않는, 쉬지 못하게 귀찮음, 벌을 받고, 분쟁, 걱정.
현대의, 활기있는, 흐르고 있는, 하는, 들떠 있는, 부단한, 침착하지
자연그대로의. 않은.
 Henrik Ibsen 35

HEDDA.
Lovborg---!
TESMAN.
What! Has Eilert Lovborg come back? Fancy that, Hedda!
HEDDA.
Well well--I hear it.%
MRS. ELVSTED.
He has been here a week already. Just fancy--a whole week! In this terrible
town, alone! With so many temptations on all sides.
HEDDA.
But, my dear Mrs. Elvsted--how does he concern you so much?
MRS. ELVSTED.
[Looks at her with a startled air, and says rapidly.] He was the children's
tutor.
HEDDA.
Your children's?
MRS. ELVSTED.
My husband's. I have none.
HEDDA.
Your step-children's, then?
MRS. ELVSTED.
Yes.
TESMAN.
[Somewhat hesitatingly.] Then was he--I don't know how to express it--was
he--regular enough in his habits to be fit for the post? Eh?
MRS. ELVSTED.
For the last two years his conduct has been irreproachable.
TESMAN.
Has it indeed? Fancy that, Hedda!

Korean
alone: 혼자, 단지, 홀로, 자기 혼자서, 운송회사. post: 우편, 우체국, 기둥, 우송하다,
고독한, 단독으로. fit: 적합, 적당한, 준비시키다, 건강한, 우편물, 지위, 부서, 게시하다,
concern: 관심, 관계, 걱정, 관심사, 에 꼭 맞다, 만듦새, 조달하다, 알맞은, 우체통, 주둔지, 붙이다.
관계하다, 것, 관심을 갖다, 영업, 수험 준비를 하다, 격발, 이야기의 한 tutor: 억제하다, 후견인, 가정 교사,
관여하다, 중요성, 걱정하다. 구절. 개인 지도 교사 노릇을 하다, 개인
conduct: 행위, 지도, 수행하다, habits: 버릇, 습관. 지도 교사, 강사, 지도하다, 가정
지휘하다, 이끌다, 품행, 안내하다, irreproachable: 결점없는, 흠잡을 데 교사로서 가르치다, 개인 교수를
행동하다, 전도하다, 지휘, 교목. 없는, 탓할나위없는, 비난할 여지가 받다, 가정 교사 노릇을 하다, 개인
express: 명시된, 명백한, 표시하다, 없는, 비난할 수 없는, 비난할 여자가 가정 교사로서 지도하다.
특별히, 표현하다, 급행의, 지급편, 없는.
특별한, 정확한, 지급편으로 보내다, none: 아무도 ... 않다.
Exploring the Variety of Random
Documents with Different Content
“If I had my cane here, I would lay it over the rascal’s shoulders,”
said the Master Goldsmith grimly; “these varlets that insult their
betters deserve hanging.”
“Tut!” I said, laughing; “if it had only been the disrespect to me, it
would not matter; the fellow is not worth the caning, but he has
imperilled a noble lady and lost us our liberty. However, as we
cannot hang him, let his conscience do it, Maître le Bastien.”
“He shall be dismissed from my service without a sou,” said the
goldsmith sternly.
At this the knave began to whimper, overcome with shame and
consternation.
“I vow I meant no harm, but the spoiling of monsieur’s trick,” he
protested. “I did not know what the great brute said, until Advotia
told me, and then he had whistled up his men and had me fast
enough. I do swear to you, Maître le Bastien, that I never dreamed
of any peril for either of you; I thought that M. le Marquis only
meant to frighten me. I am not ungrateful to you, my master, or
unfaithful,” and the fellow drew his sleeve across his eyes.
“Much cause you have to talk of gratitude and faith,” retorted the
master harshly; “you are a rascal from head to heels!”
“Was I a rascal when I stood between you and the dagger on the
rue Saint Denis?” cried Michaud hotly. “Was I a rascal when I nursed
you through the fever at Blois, in ’79?”
Maître le Bastien was silent, his face changing. As for me, I saw now
the whole matter; the fellow had been jealous of his master’s favour.
I was a new apprentice, or claimed to be one, and had been
admitted at once to a greater intimacy and confidence than he had
ever attained; I had eaten at his employer’s table and done no work.
“Let the matter pass, Maître le Bastien,” I said lightly. “He has erred,
and he is like enough to atone for it here. I forgive him—I pray you,
follow my example.”
I did not add that I would never trust the varlet more; it would have
seemed a poor revenge on an inferior.
A cloud passed from Maître le Bastien’s face; he was a man of an
exceeding kind heart, and loved to give or take offence less than any
man I ever saw.
“He must win my confidence again,” he said, relenting; “which will
be no easy matter.”
A deep flush passed over the apprentice’s face.
“I will win it, monsieur,” he said.
Willing to let the matter pass, I walked to the window and looked
out, trying to locate our position in the palace. The room, which was
square and marble-floored, had three narrow windows in it, which
were not barred, but, as I found, too high from the ground for the
most daring to leap from them. I saw that we were in the front of
the palace and our windows all overlooked the Red Place and the
Red Staircase. There were wide sills, wide enough for a man to
stand upon, both inside and out, and beside the third window on the
right, a fretwork of iron ran upward to the roof. I looked at it sharply,
to see if it would afford a possibility of escape, but it seemed too
slender to uphold a man, and besides it ran up, not down, and the
chances of escape by the roof were too remote to tempt anyone to
take the risk.
Evening was approaching, and below the court of the Kremlin lay in
the shadow; a purple dimness wrapped the distant places, and
swathed itself, cloud-like, about the foundations of cathedrals and
palaces, creeping upward, as a vapour creeps, while above the white
domes and minarets caught the afterglow, and the golden crosses
gleamed against the deep, clear sky.
I stood leaning on the window-sill, looking down and reflecting on
the strangeness of our position, and deeply troubled, too, over the
peril that I knew threatened the Princess Daria, and that I was
powerless to avert. I could not even warn her. If I could only find
Maluta and speed him on an errand to her, I thought, but the dwarf
had disappeared when I entered the presence of Sophia; and I had
no means of communicating with him. Knowing that accidents of a
sudden and mysterious nature often happened in Moscow, that even
the young women chosen as brides by the various czars had been
summarily disposed of by jealous factions at court, I had no reason
to feel comforted in regard to the princess. That Sophia was jealous
of her I could not doubt, and it was not difficult to conjecture the
result, and I was helpless! It was this that drove me well-nigh to
distraction and made me give tart answers to Maître le Bastien when
he began to talk of our situation. Naturally enough the worthy man
thought more of his own peril and inconvenience than of anything
else, and I had no mind to betray the cause of my uneasiness, so we
talked often at cross-purposes, and with little sympathy.
“This is a most unhappy matter,” he said gravely, “and may end in a
worse way still.”
“It is,” I retorted, “for a woman’s jealousy is like a fire kindled in a
stubble field, and consumes all before it.”
He stared. “I hope the Prince Galitsyn may discover the true
situation and deliver us,” he remarked.
“I hope he may,” I said, “and withdraw his ridiculous pretensions.”
“I do not understand you, monsieur,” replied Maître le Bastien.
“I beg your pardon,” I rejoined, “but we both hope for similar
results, though from different causes, so we are both of the same
mind in the end.”
He looked perplexed. “I do not believe that the czarevna will dare to
carry matters to extremes against two Frenchmen,” he said.
“Bah!” I retorted; “she has no conception of the greatness of France,
of its splendour, its resources, its power! These Russians think that
Moscow is the centre of the earth; their arrogance is absurd!”
“It is,” said the goldsmith; “but it is ever the smallest cock in the
barnyard that crows the loudest.”
I replied in kind, and we continued, for some time, to give vent to
our feelings by similar expressions, and then, finding that no one
came to our relief and that we could not escape, Maître le Bastien
produced a pack of cards from his pocket and we fell to playing
picquet as long as our one taper lasted. As for supper, we had none,
and were forced to go hungry, and to sleep on the wooden settles in
the corners; for they gave us no beds, and we would have suffered
from thirst as well as hunger, if we had not found a pitcher of clear
water on one of the window ledges. In these dismal quarters,
therefore, we passed the night, and, awakening with the sunrise,
found the prospect still unchanged.
Hunger does not mend the temper, and we began the day grumbling
at our treatment, and we were not destined to immediate relief; it
was on in the morning, toward seven o’clock, when the door
opened, at last, to admit Kourbsky and a serf who brought a meagre
meal and set it on the table, so meagre indeed that I began to
wonder how three men were to partake of it, when the chamberlain
solved the mystery.
“The master goldsmith comes with me to Prince Galitsyn,” he said
pompously; “his excellency has interceded for him to her serene high
mightiness Sophia Alexeievna.”
Maître le Bastien rose joyfully from his seat at the table and Michaud
and I followed his example, but here Kourbsky interfered.
“The master goldsmith,” he said, “and this man,” pointing at his
favourite Michaud; “but not you,” and he regarded me maliciously.
Le Bastien halted. “We cannot be separated,” he declared
generously.
“That is a short-sighted policy, Maître le Bastien,” I said, in French;
“for when you have your liberty, you can obtain mine.”
“You can choose,” said the chamberlain amiably, “between parting
with your apprentice or your head.”
The good goldsmith, though by no means a coward, was not a
soldier by profession, or even a reckless man. He yielded, saying to
me in French.
“My first care shall be for you, monsieur.”
“It is well,” I replied, smiling; “but I hope you will first get a
breakfast.”
“Come, come,” said Kourbsky, casting a suspicious glance at me, “we
have no time to lose—forward, march, sir goldsmith!” and he hustled
master and man out of the room.
Then I heard the door clang behind them, the bolts fall into place,
and I was alone in my prison and before me was a chelpan—a kind
of dough cake—and a cup of water! Both might be poisoned, but a
hungry man is not over-cautious. I despatched the dough and drank
the water, reflecting that I might need both before I escaped the
clutches of my portly friend, the chamberlain, who had evidently
determined to avenge himself for his own capture, whether by order
of the czarevna or not. Having disposed of my breakfast, which
served to whet my appetite rather than to satisfy it, I walked to and
fro in the room, lost in thought—and not very pleasant thought. My
reflections running so much on the line of those of the previous
night, it is useless to record them, but I was in no pleasant frame of
mind when I went, at the end of an hour, to look out of the window.
The Red Place was nearly as quiet as on the previous evening, but
now the sunshine illuminated it, and occasionally a boyar crossed it,
or a servant ran out of the palace. The ravens of the Kremlin were
circling around the windows and some alighted even on the
balustrade of the bedchamber porch. The stillness struck me as
unusual; not even a church-bell sounded; it must have been then
between eight and nine in the morning. As I stood looking down, I
saw the carriage of some great noble roll slowly across the court,
attended, according to custom, by twenty or thirty serfs on foot,
who went before and behind the vehicle. They were clad in crimson
tunics edged with gold embroidery, and yet ran bare-foot, while the
harness on the horses was covered with the dangling tails of
martens, a decoration much in vogue with the aristocracy, and the
duga above each animal’s neck shone with jewels. An old man,
stately in bearing and magnificent in dress, sat in this carriage, and
at his feet was a slave, also liveried in crimson, while beside him was
a slender girlish figure, attired with equal splendour and wearing a
long white scarf about her throat, besides the fata over her face.
This strange procession halting at the Red Staircase, the serfs
assisted their master and mistress to alight, and as they did so, a
breeze lifted the nun’s veil and I saw the features beneath it.
It was the Princess Daria.
I stood a moment rooted to the ground, and then the full
significance of her arrival at that hour came upon me. That must be
her father, and they had been decoyed there, doubtless by the
Czarevna Sophia.
I flew to the door and shook it, like a madman. I ran again to the
window and measured with my eye the leap to the flint pavement
below and knew it to be impossible, and then I stood and cursed my
evil fortune. She, meanwhile, had gone on blindly to her fate,
whatever it might be, in the same palace where I was a prisoner.
There followed an interval of absolute despair and rage; I felt like a
caged beast ready to tear my jailers in pieces, if they came, but
happily for them they did not, and—though I knew it not—they were
little likely to remember me again that day.
The whirl of my passions had made me deaf, but now at last there
came a sound that roused me and made me listen. Far off at first,
and then nearer and nearer, the bells began to toll, the deep notes
of their metal tongues clanging in the clear spring atmosphere, and
with this burst of music came the sullen roll of many drums, and
deeper, louder, fiercer, the mighty boom of the tocsin—sounded in
four hundred churches—rolled like the roar of thunder over Moscow.
I looked out and saw a man running like a wild creature across the
square, and then—between the deep notes of the tocsin—came an
awful sound, a fierce, many-voiced roar, the cry of the multitude, the
savage yell of the mob. A shout below me, thin and shrill, cut the
tumult like a knife.
“Close the gates!” it screamed, “the Streltsi—the Streltsi have risen!”
The bells of the tower of Ivan Veliki and the cathedrals began to
ring, and near at hand I heard a woman scream. Nearer and nearer
drew the awful waves of sound, lapping up the space between, as a
wolf laps blood, and ever leaping up louder and fiercer—the yelp of
the canaille.
 XIV: A DESPERATE CLIMB
AGAIN I tried the door and beat upon it, and then returned to the
window and was held there by the sight that unfolded before my
eyes. The boyars, knowing well that the fury of the rising tempest
would break upon their heads, were trying to escape; in the brief
time that had elapsed since the first bells began to toll their coaches
had been hurried out and the Red Place was a scene of confusion.
From all parts of the palace and the adjoining buildings officials of
the court and nobles were rushing out, and running hither and yon;
the horses plunged and fretted and the men shouted to each other;
not a man among them had a cool head, and never was there
greater need—for the mob was coming on. It had evidently been
impossible to close the gates, and now I heard the tramp of a
multitude, besides its voice. And, at last, in the spaces between the
buildings, I began to see the hundred-headed thing itself, a surging
mass of men, so closely packed that it moved darkly, even in the
sunshine, and above waved the broad folds of the banner of the
Streltsi, which I knew well enough. It bore an image of the Virgin on
it and was esteemed a sacred emblem, though it was to look that
day on dark and bloody work. Now the roar of the mob rose, even in
the court of the Kremlin, and echoed about the palace of the czars.
On, on they came, driving back the fleeing boyars, like a herd of
sheep, closing in on the carriages and horses, surging closer and
ever closer upon the Red Staircase.
I looked down upon them in much curiosity; for an instant I forgot
everything else. Here was the only military force in Russia, the only
guardians of the throne, in mutiny, and who could oppose them?
What man could quell the tumult, drive these mad creatures back to
their dens? Fierce faces looked up, brawny arms brandished their
weapons, and I noticed that they had even broken the long handles
of their spears, that they might use them as swords. They poured in
from every avenue and gateway, they choked up every outlet and
massed themselves about the palace, shouting with passionate fury.
“Down with the Naryshkins! Death to the traitors! They have
murdered the Czarevitch Ivan!”
Down with the Naryshkins! Ah, Mme. Sophia, this is then your
handiwork? Down with your rivals, up with the Miloslavskys, and the
blind czarevitch and his great sister. I saw what she had done, and
more than ever I dreaded her power over the Princess Daria.
Meanwhile the uproar in the Red Place beggared description; for the
most part I could not distinguish what was said, or rather shouted,
but, ever and anon, I did clearly comprehend the cry:
“Give us the traitors! The Naryshkins have murdered the Czarevitch
Ivan and the imperial family!”
The idea that a conspiracy really existed in the family of the Czarina
Natalia to destroy the rivals of her little son, the Czar Peter, had got
a firm hold on the ignorant minds of these creatures, and it had
doubtless much to do with the final outbreak, but even after they
were assured of the safety of the czarevitch, they kept on in their
furious course.
While I looked, the patriarch, in full pontificals, came out upon the
bedchamber porch and addressed the rioters, and with him were
some boyars, among whom I recognised Prince Galitsyn. But their
appeals to the mob had no result; the soldiers crowded up under the
balcony and on the very Red Staircase itself; they brandished their
weapons and shouted:
“Give us the traitors! Down with the Naryshkins!”
Their wild upturned faces scowled fiercely upon the nobles; they
gesticulated and screamed, but, as, yet, no blood was shed, and
only one or two stones had been thrown, and they fell wide of the
mark, but the sullen rumble of wrath rose on the outskirts of the
throng; the naked spears flashed in the sunshine, death was there,
riot and murder—no sane man could be blind to it. Once more that
wild shout rose. I climbed on the window-sill and looked down and
saw the boyars bringing out the Czarina Natalia and her son, the
little Czar Peter, and with them the weak-minded Czarevitch Ivan. At
the sight of them the rioters went mad; they cried out so fiercely
that the voice of the patriarch was drowned. They brought ladders
and climbed to the very porch where the czarina stood—white as
death—with the two boys beside her. The patriarch talked to the
soldiers, but in vain, they pushed him roughly aside and clambered
over one another until they pressed so close upon the czarina that
she gave way, and hurried back into the palace, with her son and
stepson, and then—for the moment—I thought that the end was at
hand. The rioters howled like wolves and pressed forward; below a
dark mass of men and a forest of cruel steel.
It was at this crisis that the chancellor, Matveief, came out; he was
an old man of stately bearing, the uncle of the Czarina Natalia, and
once the commander of these animals. At the sight of him there was
a sudden lull, the noise died away, the onward rush was stayed; they
waited, snarling like beasts, and the chancellor spoke. His voice did
not come up to me distinctly; I could not follow his speech word for
word, but I caught the drift of it. He was an astute politician, and he
told them that they had been deceived by bad men, that no
conspiracy existed, that they had themselves seen both the czar and
the czarevitch alive and in good health, and it behoved them to
disperse quietly to their homes, and, if they did so, he would himself
intercede for them, that the czar might pardon this mutiny and
attend to their grievances. Never was a speech better received; a
shout of applause followed it, and the ringleaders began to waver.
All might yet be well. I drew a breath of relief, and in this season of
quiet I heard, for the first time, a knocking at the door of my prison.
I leaped from the sill and, forgetting Matveief and his diplomacy,
hastened to the door. The knocking was now followed by a
scratching sound that had become familiar to me.
“Maluta,” I said, “is it you?”
“Yea, O my master!” replied the shrill voice of the dwarf. “I have
been trying to find you.”
“Can you undo the door?” I demanded.
“Nay,” he replied, “I have tried, but ’tis double-locked with strong
iron locks, and neither can I get the keys. They are in the bosom of
the fat chamberlain.”
“Canst get a mallet to me?” I asked. “In this excitement no one will
heed you.”
“I cannot get it to you, save by the window,” said Maluta, “even if I
can find one—have you tried the window?”
“’Tis a sheer leap on to the spears of the Streltsi,” I said drily.
There was a silence on the other side of the door for a moment, and
in the pause I heard someone speaking on the Red Staircase.
Afterwards, I knew it was the second in command of the
Department of the Streltsi, Prince Dolgoruky, and it was he who let
the lions loose.
“The Czarevna Sophia means mischief to the Princess Daria,” said
Maluta’s voice.
Then I went to the window with a sudden resolve to do or die. As I
looked out an awful shout came from the rioters; there was a rush
upon the staircase, and the Boyar Dolgoruky, he who had just
ordered them to disperse, was hurled down upon their spears. It
was over in a moment, and they trampled him under foot. The
bright blades dripped now with crimson, and the yelp of the wolf
who laps blood came up. I saw them seize the chancellor and hurl
him down upon their spears, as they would have hurled a bag of
salt.
But I had no time to lose; I tried the iron fretwork beside the
window. Then I went back to the door and shouted to Maluta, for
the tumult almost drowned my voice.
“Go to the room above, below the roof, and wait there—if I can
climb to the window ledge, I will join you there,” I said, and heard
his assent before I returned to my desperate attempt.
I took off my shoes and bound them at my waist by my scarf, and
leaping on the sill in my stocking feet stood a moment, looking down
on a scene of blood. The yell of the mob and the screams of the
dying came up together. The body of Matveief had been hacked to
pieces; blood flowed on the Red Staircase, blood dripped alike from
hands and weapons and smeared their faces with a hideous
ruddiness. The mob was no longer densely massed, it was breaking
asunder, into small parties in pursuit of victims. Every boyar, every
man of rank, was a suspect, and he stood chance of a trial unless he
was known to be of the Miloslavsky party. Even the horses in the
carriages were cut down, that not a noble might escape. I saw two
men killed while I stood there, and then I swung myself out on the
ledge of the window and, seizing the iron-work, began to ascend,
expecting every moment that it would give way and hurl me
headlong on the spears below. But it held, and I was half-way up, I
saw Maluta’s wing-eared face above me, over the window-sill. I had
but a few yards to climb when a shrill yell immediately below told
me that I had been seen; they would, of course, mistake me for one
of their enemies, yet could only move slowly and with the greatest
care, and, meanwhile, I was a conspicuous mark. Another yell, and
then a stone struck the wall below my feet, another at my side, a
fourth took me fairly in the small of my back, but I had gained a
yard, my hand was on the window-sill. Then I heard a bullet sing
past me, and the report of a pistol; someone had fired from the
porch. It missed, but now the roar came up, like the roar of thunder.
I heard a dying man scream, and, at the instant, caught the
window-sill and swung forward, landing fairly on it, just as another
bullet cut through my sleeve.
I leaped upon the sill and, looking down at those hideous faces,
kissed my hand derisively to them, and sprang back into the room
beside Maluta—safe, by a hair’s-breadth.
 XV: PRINCESS AND CZAREVNA
I FOUND myself in a low room beneath the roof, belonging,
doubtless, to one of the servants of the palace, and but plainly
furnished. Maluta greeted me eagerly, with every evidence of joy;
and while I put on my shoes and hastily arranged my disordered
dress, he told me all he knew, screaming it at the top of his shrill
voice, for even there—under the very eaves—the mighty cry of the
mob, in its fury, leaped up and echoed, drowning all minor sounds,
as the roar of the cataract swallows up the murmur of the river.
The dwarf had lost sight of me the day before, when I entered the
czarevna’s presence, and had suspected my fate when he found I
did not reappear, but, with all his cleverness, it had been long before
he could locate me. In fact, he had not done so until Maître le
Bastien and Michaud came out and were taken to Prince Galitsyn. It
seemed that there had been a long and stormy scene between the
prince and Sophia Alexeievna, and Maluta was plainly of the opinion
that, whatever transpired at the interview, it had been an
unfortunate one. The czarevna was known to be in a stormy mood,
and though Galitsyn was there, and taking a leading part in affairs,
he was under a ban, so far as his imperial mistress was concerned.
Then the dwarf described the arrival of Prince Voronin and his
daughter, and there had been a scene, he knew, between the latter
and the czarevna. The old prince had been separated from his
daughter, and both were under arrest, and Maluta feared the worst,
with the mob yelping below us, and Sophia and the Miloslavskys
supreme. He told me that the Czarina Natalia could do nothing more
than save the life of the little czar, that the soldiers had already
forced an entrance into the palace and could not be controlled even
by the patriarch. As he spoke, I heard their yells within as well as
without the building, and the continuous cry of “Give us the traitors!
Down with the Naryshkins!”
I had controlled my impatience long enough to hear his story, that I
might have a clearer comprehension of the situation, and now I was
ready to act.
“In what part of the palace is the Princess Daria?” I demanded
eagerly.
“In the rear, on the floor below,” replied Maluta promptly. “I know
the very room.”
“Then lead the way,” I said, “and lose no time—I would I had my
sword!”
They had stripped me of my weapons, and I felt the helplessness of
bare fists. Maluta looked at me sideways, in his elfish fashion.
“I might steal one from the guard-room,” he said, and quietly drew a
pistol from the bosom of his doublet and handed it to me.
“You little rogue,” I said, with a smile, “did you steal this also? But I
thank you—even if you did,” I added, having, after examination,
found the weapon loaded and primed, ready for use.
Then I followed him through the hall and down the stairs. As we
descended the noises below grew even more distinct; we heard the
fierce cries without and answering shouts within, and ever and anon
the sharp crack of a pistol or a scream of agony. But the place where
we were was utterly deserted, not even a serf lingered here; all were
drawn to the scene of horror below, or had fled to safety elsewhere.
Now and then the bells of the cathedrals burst out into wild,
discordant chimes, as if demons set them going, and this clangour
added a strange note to the tumult.
On Maluta led and I followed; further into the heart of the palace,
and presently we passed through a long gallery where the windows,
set in deep recesses, looked down upon the Red Place, and on the
other side, through a lattice-work, we could see into one of the
private chapels, for this was a gallery sometimes used by the women
to witness the ceremonies from behind the screen, an Eastern
custom that still prevailed in Moscow. At the further end of the
passage was a door, and here Maluta paused and signed to me.
“She is here,” he whispered in my ear; “the czarevna locked her in!”
I did not hesitate a moment, I knocked boldly at the door,
determined to speak to the princess. But there was no response,
though she must have heard it, for the outcry of the mob had died
down a moment, as it did at intervals—when there was bloody work
to do. I knocked again, to no purpose, and then I tried the door; it
yielded instantly to my hand and fell open, and I looked eagerly into
the room, but it was empty. I turned angrily upon Maluta, who stood
open-mouthed, gazing in with such honest astonishment that I knew
he had not purposely deceived me.
“You little rogue!” I said passionately; “how long ago was she here?”
But he did not answer me; instead, he plucked at my coat and
pointed to the opposite door—the door through which we had
entered the gallery—and there, to my amazement, I saw the
Czarevna Sophia and the Princess Daria entering together. Whether
they saw us or not, I knew not; if they did, neither of them heeded
us, and the dwarf and I, standing back in the recess of the doorway,
were witnesses of the strange scene that followed. As they advanced
I saw the awful pallor of Daria’s face, but she was wonderfully
composed, seeming to control herself by a supreme effort of will,
while the czarevna, equally cool in manner, had an inscrutable
expression on her countenance. She paused midway in the gallery,
at one of the windows, and pointed downward. The mob—nearly
silent for a while—had begun to cry out again, and I could see some
horror, enacted below, reflected in the eyes of the girl who looked,
following the direction of that eager finger.
“I have brought you here to see the fruitlessness of resistance, you
little fool,” said Sophia, in a tone that had the cruelty of triumphant
power in it; “your father is old, and not a strong man; death will
therefore be more easy—but death upon those spears! And death he
would have, if he opposed me. His rank avails not. See, yonder goes
the head of Artemon Matveief, the czarina’s uncle—she could not
save him!”
The Princess Daria closed her eyes with a shudder, and I saw
Sophia’s cruel, furtive smile. What devil possessed the woman? I felt
in my bosom for the pistol, the spot was lonely! At the moment,
came up the yell from below—like a voice from the infernal regions.
“Slay, slay the traitors! Give us Ivan Naryshkin and Von Gaden—the
Jew poisoner—and Prince Voronin! Death to these wretches!”
The princess drew back, pale and shivering, but still she did not
plead for mercy; she only listened to the other woman.
“They are demanding your father,” Sophia said; “the czarina cannot
save him, nor can Galitsyn—nor Galitsyn—do you hear, girl, not even
the prince? And they will tear his body, as the wolves tear the one
who is slain first—they would do it now—but for me!”
The Princess Daria cast a scornful look at her, her own face as white
as ashes, but her eyes sparkling.
“You can save him, Sophia Alexeievna!” she said; “and why should
he suffer because Prince Galitsyn loves me? Because you found my
miniature in your locket around his neck? I did not give it to him,”
she continued scornfully, “and if I had—is that cause enough for a
great princess—the daughter of the czars—to murder an old man?
Why do you not murder me?”
Sophia pointed out of the window. “I need not,” she replied, and
laughed.
The red blood leaped up to Daria’s forehead, and then she turned
white again, for the cry came up.
“Give us more Naryshkins! Where is Voronin?”
Sophia walked across the gallery and looked through the lattice into
the chapel. From where I stood I also could see the dim interior,
lighted only by the tapers which burned before the golden
iconostase, and there now was the figure of a priest, on his knees;
surely it was a time to pray.
“See, here is the priest, Daria Kirilovna,” said Sophia, “and Kurakin
waits below. You will go there now, and before my eyes, wed the
Boyar Kurakin. You cannot escape me—there is no escape!”
I felt again for my pistol, and this time drew it out.
The princess did not, at first, reply; she stood quite still, looking into
the chapel.
“I can die!” she said, at last, in a low voice, “and I would gladly die—
rather than wed that man! I can die.”
“Out there?” asked Sophia scornfully, pointing toward the court-yard
where the carnival of hell went on.
The Princess Daria did not answer, her face set itself rigidly.
“Out there?” said Sophia again. “I do not think they would kill you—
not at once!”
Daria shuddered, turning her face away. Sophia looked at her with
glittering eyes.
“It will avail nothing to resist,” she went on, in a fierce, low tone,
“you are in my power; your father cannot save you; you shall marry
Kurakin, I swear it! And Galitsyn will never see your face again—
never.”
Daria gave her a look of superb disdain and answered not a word,
and the czarevna, maddened by her manner, caught her by the wrist
and drew her to a window, and they looked through it as I looked
through another. We could see nearly the whole of the Red Place,
and it was filled with a living, surging mass of humanity that roared
and wavered like the billows of the ocean. A mass of upturned
savage faces, white with fury, red with blood, and, borne aloft—here
and there—on the points of spears, the gory heads of their victims.
They waded deep in blood and mire, for they had trampled the dead
and dying under foot, the very air reeked as from a slaughter-house,
and the voice of the mob! Deep and awesome as the voice of the
tempest, rolling and growling in the distance, and then rising in a
fearful, ear-splitting yell of frenzy—“Slay, slay, slay!”
I, a strong man, turned sick and dizzy; I looked back and saw the
princess standing like a statue. Sophia had her left wrist, but Daria
did not look at her: her eyes were riveted upon the sight below, her
nostrils dilated, her breath came quickly; I saw her right hand
clench. The voice of the mob echoed about us; a raven, frightened
by the noise, burst into the window and flew over our heads, beating
its wings against the roof in its efforts to escape. Looking at the
princess, I felt that she too, was like a captive bird, but still she
gazed below and I looked again also, and saw them kill a boyar and
dash his brains out on the pavement. I cursed Sophia in my heart as
a fiend. Then the howl came up—the wolf’s cry, after tasting blood.
“A Naryshkin! Give us a traitor—give us Prince Voronin!”
“Hearest thou, Daria Kirilovna?” said the czarevna; “he cannot save
you—but I can save him!”
The Princess Daria leaned against the wall, her eyes closed.
“You are in my power!” said Sophia fiercely.
Again, the wolf’s howl: “Blood, blood!”
It rose and leaped against the turrets and rebounded with an echo
that froze the heart. The raven beat its wings.
“I will save your father,” said the czarevna, “but you wed Kurakin!”
The princess made no answer, her face was deathly, and her lips
moved as if in prayer. And below the mob screamed out a name.
“Voronin—give us the traitor!”
The princess opened her eyes and looked—not at Sophia or the
fearful scene below—but away, into the far distance where the sky
shone blue and serene.
“I am in your power,” she said; “the holy Virgin pardon you!”
I took a step nearer, pistol in hand, but the dwarf flung himself on
that wrist and clung there, with the strength of frenzy, terror, and
passionate appeal in his face, but uttering no sound.
 XVI: THE PAINTED GALLERY
MALUTA’S superstitious fear that I would do violence to the sacred
person of the czarevna stayed me a moment, and that moment
changed my whole resolve. In a flash I saw that, even if I could
depend upon the dwarf, I could not deal with Sophia without the
knowledge of the priest, below us in the chapel, and, moreover, I
was suddenly confronted by another possibility.
Meanwhile, the czarevna had advanced upon the princess and was
gazing fiercely in her eyes.
“You are indeed in my power,” she cried savagely, “and you will wed
Kurakin now!”
In her turn, Daria looked upon her sternly, her pale, spirited face
strongly agitated.
“Sophia Alexeievna,” she said in a low voice, “you are giving me to a
living death, but you shall save my father—see to it that you save
him!”
Sophia flushed deeply; contending emotions—triumph, gratified
hatred, jealousy—were strongly mingled on her coarse features.
Never was there so great a contrast; Sophia’s short, almost
shapeless, figure and her powerful, determined face were thrown
into sharp relief by the beautiful young woman at her side. The
Princess Daria had never looked more lovely, more high-born and
noble-minded than at that supreme moment of trial.
Sophia took a step nearer to the lattice.
“Mikhail Kurakin should be there now, in the chapel,” she said
impatiently. “When I see him enter, then you will go down that stair
yonder at the end of the gallery, and I watch here, that there may
be no mistake—no slip—oh, you shall be wedded tight and fast, by
book and taper, Daria Kirilovna—never fear!”
“He will not come,” said the princess, clasping her hands as if in
prayer. “Our Lady of Kazan will deliver me, Sophia Alexeievna, from
the bad man and from you—even on the staircase, he will be
stayed.”
The czarevna looked at her, in surprise at first, and then laughed
mockingly.
“Who shall deliver thee, O Daria?” she said. “Hark—your lover’s
footstep is even now in the painted gallery!”
I stopped to hear no more; I grasped Maluta by the collar and softly
and swiftly we passed through the door—the czarevna’s back was
happily toward it—and on through the room where the princess had
been confined. In the hall beyond I stopped and shook the dwarf
violently.
“Where is the painted gallery?” I cried; “quick, fool!”
Intelligence of the keenest flashed into those ferret eyes.
“’Tis below, excellency, by the chapel; we can reach it by this
stairway,” and he darted to the head of the flight of narrow stairs
which had escaped my eye.
I followed, and in a moment we were down a short, stone stair and
stood in a narrow gallery richly and gaudily painted in the Turkish
fashion. It was empty; at the end was a door that I knew opened
into the chapel, and I hurried to it and peeped in. All was quiet; the
priest stood waiting in the dim light. I turned and found the dwarf at
my heels.
“Quick!” I said in a whisper; “can we cut off his entry here?”
Maluta skurried ahead of me, without pausing even to reply, and we
had passed through a door at the other end, into a small room that
had one window on the Red Place, before either of us paused.
“Must he come this way?” I asked hastily.
The dwarf nodded, and I turned and, locking the door behind me,
put the key into my pocket; then I went to the only other entrance
and stood waiting. Here too, as luck would have it, the key was on
the inside. Maluta stood watching me. I looked around keenly for
one object that I desired, but saw it not, and then my eye alighted
on the wide scarf at the dwarf’s waist.
“Take off your sash,” I said sharply; “tear it into four strips, so—knot
them together—we shall need a rope.”
He obeyed, his eyes twinkling, and had scarcely tied the last knot
before I heard someone coming. I listened—would there be more
than one? No, it was one footstep—an eager and a hasty one—and it
came on swiftly. I waited quietly, holding Maluta’s pistol in my right
hand.
The door opened violently, and the Boyar Kurakin entered, so hastily
that he did not perceive us until I had closed the door with my left
hand, and locking it, thrust the key into my bosom with its fellow.
Then he saw me and stopped short and stared. To him I was only
the apprentice who had played him the trick with the miniature, and
the recollection of that douche of hot soup brought a scowl to his
forehead. It was a handsome, evil face, as I saw it now, and I
remembered the Princess Daria’s cry, “I can die—I would gladly die!”
“What brings you hither, knave?” he asked with fierce scorn, “to
brave your betters?”
“Or to spurn my inferiors, rogue,” I retorted; “’tis for me to ask what
brings you here to torment a noble lady?”
His eyes blazed; he lifted his clenched hand to deal me a blow and
found the muzzle of my pistol in his face. He recoiled, cursing me
furiously.
“What do you mean, assassin?” he cried, feeling desperately for a
pistol, and finding none, as I saw, though he had drawn his sword.
“Down with that weapon,” I said coolly, “and up with your hands—or
I will send you into eternity!”
But his blood was up; he made a wild pass at me and I fired,
knowing that the tumult without would account for any noise. I had
aimed at his sword hand, and so neatly that the ball grazed his
thumb and forefinger and he recoiled again; as he did so, Maluta
sprang, like a cat, on his shoulders, and struck the weapon out of his
wounded hand.
“Curse you!” cried Kurakin, “what devil is this that you have for an
accomplice?”
“No devil,” I replied, “nor do I wish to kill you; but one instant more
of opposition and I put a bullet through your heart.”
He was trying to throw Maluta off, but he might as well have sought
to cast off a monkey; the little creature wound his long arms around
him and clung to him fiercely. Kurakin stared at me savagely.
“I will kill you for this!” he said, between his teeth.
“On the contrary, I will kill you,” I retorted, my foot on his sword,
and my pistol at his breast.
He turned white to the lips, his eyes started, the perspiration stood
out in beads on his forehead; he liked death as little as most men.
“Will you die or live, monsieur?” I asked pleasantly.
He cursed me and he cursed Maluta, but his lips shook.
“You prefer to die?” I asked, still politely.
“Nay,” he replied, between his teeth, “I will not die.”
And, with a sudden leap, he threw Maluta off and flung himself upon
me, seizing my right wrist, and wrenching it backward in his effort to
get my pistol. His onslaught, quick as a tiger’s spring, bore me
toward the wall and my foot slipped; for a moment I thought that I
had lost and he had won, and then we clenched and rolled over on
the floor, he struggling to turn my pistol away and I, to use it—to his
death. In brute strength he was a match for me, but he had not my
training as a wrestler, a sport that I had loved as a boy, and twice I
had him under, and twice he struggled half-way to his knees. His
eyes were wild, his breath burned hot on my cheek, and his bare
hands tore at me with the strength of fury. Back and forth I twisted
that wrist and he held it like a vise, and I could not use my pistol.
Then, I got him down and my knee on his breast, though he still
gripped my right arm and cursed me, but I tore my left hand free, at
last, and changing the pistol from right to left, I dealt him a blow on
the head that stretched him senseless. And, as I did it, Maluta came
creeping up, holding his own temple, for the boyar had flung him
against the wall and the monkey-like face was drawn and shrivelled,
but he was ripe for vengeance, watching me for his instructions, and
I knew by his look that he would gladly kill his erstwhile master, but
I had no such design.
“Strip off his long robe, Maluta,” I said briefly.
A look of blank amazement crossed the dwarf’s face, but he obeyed
me with his usual alacrity, and I helped him unfasten Kurakin’s belt
and remove his long brocaded gown—a marvellously fine affair too—
for his wedding, doubtless! His high cap had fallen in the struggle
and lay in the corner.
“His shoes also,” I said to Maluta.
The dwarf jerked them off with vicious haste, watching me with his
sidelong glance, his head down.
“Now tie his hands with your scarf,” I told him, and he obeyed.
In a few moments we had him bound securely, hand and foot, and
dragging him—a dead weight—to a heavy settle, we fastened him to
that with my belt and Maluta’s. We had not finished our task,
however, before the boyar began to revive, and opening his eyes,
stared at us, in a dazed fashion, but I did not heed him. On the
contrary, I picked up his cumbersome robes.
“Quick,” I said to my follower, “I must become the boyar.”
The dwarf had, by this time, divined my design and helped me strip
off my own coat and shoes and put on the Russian dress. Kurakin
and I were nearly of a height, and the long robe completely
disguised my figure, while the collar, which was high and standing,
partially concealed my face, the cap completing the disguise. I wore
my hair about the length of the boyar’s and, wearing his clothes, I
could easily pass for him in a dim light—the light of the chapel.
Maluta danced about me, clapping his hands, while the Russian
stared, gradually recovering his senses, and the white of his face
turning to purple with impotent rage; he began to dimly suspect my
purpose, and I never saw before such passion and despair pictured
on a man’s face. He writhed, but his bonds held, and he felt himself
a fool, and began to curse me feebly, while I put my pistol back into
my bosom and, taking his sword also, bowed graciously to him.
“Au revoir, monsieur!” I said, and kissed the tips of my fingers, and
then, in Russ; “the bride waits, sir.”
He sputtered—too far spent to give voice to his wrath, and fury
blazed in his untamed eyes.
I unlocked the door of the painted gallery, and then spoke to Maluta.
“Go to the czarevna and tell her that the Boyar Kurakin waits in the
chapel,” I said; “after that, return and watch him here—as a cat
watches a mouse—and if he cries out, gag him and wait until I
whistle for you.”
Then I crossed the gallery swiftly. I could still hear the outcry of the
mob; in fact, at that very moment there were rioters in the
banqueting-hall, insulting the Czarina Natalia.
I laid my hand on the chapel door. It had been scarcely twenty
minutes, and I was sure that the czarevna had waited. But did the
priest know Kurakin—or did he not?
It was a momentous question, and on it hung the fate of my daring
enterprise, on that—and on the Princess Daria. But there was no
time to pause; I must win or lose. I had staked all upon the venture
—life itself—and, without another thought, I opened the door and
entered the chapel.
 XVII: CROWNED WITH RUE
THE priest had placed the taper and the book and the two crowns
upon the table in the centre of the chapel, and stood himself before
the iconostase awaiting the arrival of the bride and bridegroom. As I
entered he looked up and full into my face, and though the light was
dim, I drew my breath, expecting a challenge. But he looked at me
as one stranger looks at another, and showed no surprise, betraying
thus his ignorance of the Boyar Kurakin.
“Are you Mikhail Ivanovitch?” he asked formally, and there was
neither interest nor excitement in his tone, though Mikhail Ivanovitch
was the more familiar form of Kurakin’s name.
The priest was a young man, tall and thin, and wore the full
canonicals of the Greek church. I replied in the affirmative, in my
best Russ, knowing that my accent even was a danger. He took no
further notice of me, however, but, instead, looked up through the
lattice at the czarevna, and that other figure beside her and the
dwarf, Maluta. My eyes followed his and I saw Maluta bow, his hand
on his heart, and then the Princess Daria walked very slowly to a
little wicket that opened on the stair which descended into a corner
of the chapel. Sophia, meanwhile, stood at the lattice looking down,
and I could see her face in the light of the upper gallery; it was set
in rigid determination and deeply flushed.
As for me, the crucial moment had come; I must meet a bride who
expected Kurakin. I went across the chapel and waited for her,
where we were happily hidden from both the czarevna and the
priest by a screen at the foot of the staircase. She came down
slowly, though Sophia cried out to her to hasten, and I thought
every step cost her a pang, but her white face—never more lovely—
told me nothing, and she did not look at me; her hands were
clasped before her, her eyes cast down, and her lips moved as if she
prayed. Slowly, very slowly, she came down. I dared not speak; I
feared the sudden sound of an unexpected voice would startle her
beyond her self-control, and again, I did not know—it flashed upon
me then that, between the two, she might have chosen Kurakin, but
no Russian girl ever had the right to choose, and this thought
relieved me. When she reached the foot of the stairs I held out my
hand, but, without looking up, she swerved aside, avoiding my
touch, and walked—like one in a trance—toward the priest. And I
followed, sick at heart at the sight of her agony. The whole passed in
a moment, but we were not quick enough for the tyrant behind the
lattice.
“Make quick work, batyushka,” Sophia called to the priest. “I have no
time to waste upon them; affairs of high moment call me hence!”
The priest hurried forward and took his place; the taper flared up in
a lean red flame in the dusk; there was not even the accustomed
offering of fish, fried meat, and pastry. Far off I heard the voice of
the mob and the tolling of the bells of Ivan Veliki. I looked anxiously
at the girl beside me, but she stood like a statue, frozen in one
attitude, her eyes on the ground, her hands wrung so tightly
together that I saw the white pressure on the flesh of her fingers, as
they locked each other. Her long ungirdled robe was of some soft,
pale blue material, and there was the gleam of silver embroidery at
the hem and on the edges of the long, full sleeves that fell away
from inner ones that outlined her perfect arms, and a white, filmy
mantle half veiled her head and face. My heart throbbed heavily
against my bosom and I felt my breath come short; I stood there as
her bridegroom, and she had not looked into my face.
We were standing on a square of red taffeta, according to the usual
custom, but there was no one to hold a canopy over our heads,
though the priest gave us two crowns of gold and silver leaves and
bade us put them on, and then began to mumble the service rapidly,
omitting when he could, stumbling ahead when he dared not
condense, and binding us hard and fast, and I followed him as well
as I could. Happily, I had stolen in to witness a marriage in the
Cathedral of the Annunciation, and was not entirely ignorant of the
part I had to play, and the priest heeded me very little; while,
fortunately, the uproar in the Red Place served to distract the
attention of that one fierce witness behind the lattice.
Having elevated the sacred image above our heads, the priest took
my right hand and her left in his, and asked us three times, in a loud
voice, if we married of our own free will and consent, and three
times I answered, yes. Then, the Princess Daria looked up and her
eyes met mine. For an instant I thought that she would cry out or
fall in a faint, and so betray me, such wonder and amazement
dawned on her face, and some other emotion—whether dismay or
not I could not divine. She stood quite still, her pale face grew even
more deathly, and for a moment her slender figure swayed like a
reed, and I feared the worst, but she recovered her nerve as
suddenly and then——
I held my breath; would she repudiate me? Even the priest
suspected something unusual; he stopped and looked at us, for she
stood gazing at me with a rigid face, but becoming suddenly aware
of the pause she turned quietly toward him and, to my amazement,
went on with her part of the service, answering his questions in the
affirmative without another sign of recognition. A moment
afterwards, her hand, ice cold, lay in mine, and—I could not help it—
involuntarily, I stooped and kissed it, and looking up, encountered a
singular expression in her eyes. But I could not read her thoughts;
she had a greater self-control than I ever saw before in woman. The
priest had joined our hands and he began now to chant the one
hundred and twenty-eighth psalm. We should have responded,
repeating the alternate verses, but we did not, and he heeded our
silence very little. Now and then the noises without drowned his
voice and I lost a verse, but much of that psalm was burned into my
brain on that day.
“‘For thou shalt eat the labour of thine hands; O well is thee, and
happy shalt thou be!
“‘Thy wife shall be as the fruitful vine upon the walls of thine house.
“‘Thy children like the olive-branches round about thy table.’”
He held our hands united and slightly lifted, and his chant rose shrill
and clear:
“‘... Thou shalt see Jerusalem in prosperity all thy life long.
“‘Yea, that thou shalt see thy children’s children, and peace upon
Israel.’”
With these words, he lifted two garlands of rue and placed one on
her head and one on her shoulders, because Kurakin, being a
widower, could not be crowned with rue. I felt her hand quiver in
mine as he pronounced the final solemn, “let no man put asunder,”
and raising a great goblet of claret held it out for us to pledge him
three times. I drank of it, and she barely touched it with her lips and
then the priest emptied the glass and gave it again to me, and I
flung it on the floor, breaking it in pieces and trampling it, repeating,
as I did so, the saying I had heard in the Cathedral:
“‘May they thus fall under our feet and be trod to pieces who
endeavour to sow division or discontent between us!’”
There was a solemn pause. I stood looking down at the shattered
glass and the red wine stains on the floor. It was over; the Princess
Daria was my wife and I held her hand firmly. She was mine, and
mine she should be, against the world; I swore it, in my heart,
before that altar.
But I had yet to face the czarevna, or I thought I had, but fortune
favoured me. Sophia trusted Kurakin; she did not attempt to come
down into the chapel, but spoke to us through the lattice, raising her
voice that we might hear her, where we stood.
“Mikhail Ivanovitch,” she said, “take your wife away—out of the
palace—if you can; use my signet, if need be, and I have promised
to protect her father; he is below in the Golden Hall, and I will send
a message to him; the rest I leave to you. I must go down to the
czarina; I have lost too much precious time already. Much happiness
I wish you!” she added spitefully, and laughed.
And happily, without waiting for my reply, she abruptly left the
lattice; and disappeared in the direction by which she had entered
first, which was also a great good fortune, for I had fully expected
that she would go by the room where Kurakin was bound, and so
discover, at once, the fraud that had been practised upon her.
When she had gone the priest smilingly congratulated me, but, I
think, he dared not speak to my bride. He knew, doubtless, that she
was an unwilling one—forced marriages were of frequent occurrence
in Moscow—and he contented himself with a profound obeisance
when I handed him some gold pieces that I had upon me.
Then I turned to the rigid figure at my side. I must get her away,
and yet I did not know how far she would consent to be guided by
me. In the presence of a third person, though, I did not now fear
betrayal. I held out my hand with as easy a manner as I could
assume.
“We will go this way,” I said. I was going to call her my bride, for
form’s sake, but something in her look froze the words on my
tongue.
She would not take my hand, but signified by a gesture that she
would follow me and, in this fashion, I, a new-made bridegroom, led
the way into the painted gallery, and then, as the free air of heaven,
blowing in through the open casements, touched her face and the
light of day shone on her, she stood still and looked at me. And I
waited, my heart in my throat—I confess it. But she was not thinking
of me, or of herself.
“My father,” she said; “it is my duty to go to him—to save him.”
“So you shall,” I replied, with distant courtesy, “if mortal man can
help you. Wait here but a moment; I go for the signet, and to secure
your enemy.”
She gave me a keen look and went and leaned on the window, her
face like death.
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

ebookfinal.com